JP2015125344A - Electronic musical instrument, control method of electronic musical instrument, and program - Google Patents

Abstract

PROBLEM TO BE SOLVED: To provide an accompaniment device suitable for playing heterophony music, an electronic musical instrument, an accompaniment generation method, and a program.SOLUTION: A sound of a user performance melody and unison in a normal time is emitted by matching the user performance melody for each accompaniment part. When a prescribed deviation condition is satisfied by appropriately referring to an accompaniment format set/deviation method designation table, various deviation patterns deviating from the unison accompaniment in the normal time are generated so as to play the accompaniment of heterophony music different from so-called western-music.

Description

  The present invention relates to an accompaniment apparatus, an electronic musical instrument, an accompaniment generation method, and a program suitable for heterophonic music performance.

  Electronic musical instruments have been developed to realize Western music performance with simpler operations. Western music is generally based on the temperament of the average rate, and with the progress of the melody sound according to the average rate, chord sounds with specific functions are added, and percussion instrument sounds as required This pattern is also given. Therefore, conventionally, in automatic accompaniment, a simple key press and a specified automatic accompaniment pattern are used to sound a musical tone that composes a chord having a desired chord name according to the number of key presses, and a band or orchestra. Electronic musical instruments have been developed that can provide accompaniment effects that follow the above. The chord name is determined by the number of keys pressed, the pitch of the key pressed, and the root sound of the code can be determined by the lowest sound of the key pressed. (For example, see Patent Document 1)

  There is also known an electronic musical instrument that can properly generate a differential sound according to a player's intention and can play a musical piece according to a non-Western music temperament system. (For example, see Patent Document 2)

JP 57-46296 A Japanese Patent No. 5041015

  In music other than Western Europe, for example, in the Middle East, India, Asia, Arab, and the like, unique forms of music different from Western music have been played since long ago.

  One of the features of music in the Middle East, India, Asia, Arab, etc. is a form of music called “heterophony”. This "heterophony" generally performs the same melody with multiple instruments (voice parts) while performing away from the original melody because a certain instrument is temporarily deformed or decorated. It refers to the form of music.

  However, conventional electronic musical instruments have been developed with Western music performance in mind, and there has been no electronic musical instrument that is designed to perform such heterophony music. Furthermore, there are few electronic musical instruments that can produce differential sounds used in music other than Western Europe such as the Middle East, India, Asia, and Arab, and their functions also follow the temperament of the Middle East, India, Asia, Arab, etc. It was not enough to perform. Therefore, when trying to perform such heterophony music using a conventional electronic musical instrument, there is a problem that it is difficult to perform such as playing multiple musical instruments (voice parts) separately. there were.

  The present invention has been made in view of such problems, and an object of the present invention is to provide an accompaniment apparatus, an electronic musical instrument, an accompaniment generation method, and a program suitable for playing heterophonic music.

  In order to achieve the above object, an accompaniment apparatus according to an aspect of the present invention includes accompaniment information generating means for generating accompaniment information from input performance information based on a predetermined condition, and the input performance information is a predetermined amount. Determining means for determining whether or not the state is in a state; and when determining that the state is in the predetermined state, the accompaniment information generating means so as to generate accompaniment information based on a condition deviating from the predetermined condition And a control means for controlling.

  In the accompaniment apparatus according to one aspect of the present invention, the accompaniment information generation unit generates accompaniment information corresponding to each of a plurality of parts based on different predetermined conditions, and the determination unit includes the input performance It is determined whether or not the state of information is in a predetermined state corresponding to each of the plurality of parts, and the control means is a predetermined state in which the state of the input performance information corresponds to each of the plurality of parts. When it is determined that any one of the above is supported, control is performed so that accompaniment information is generated based on a condition deviating from the corresponding predetermined condition.

  The accompaniment apparatus according to one aspect of the present invention further includes: a rhythm genre specifying unit that specifies a rhythm genre; and a rhythm information generating unit that generates rhythm information based on the rhythm genre specified by the rhythm genre specifying unit. And the determination means determines whether or not the state of the input performance information is in a predetermined state corresponding to the designated rhythm genre, and the control means is a predetermined corresponding to the rhythm genre. When it is determined that the accompaniment is in the state, the accompaniment information is controlled to be generated based on a condition deviating from the predetermined condition corresponding to the designated rhythm genre.

  The accompaniment apparatus according to one aspect of the present invention further includes melody information generation means for generating melody information based on the input performance information.

  In the accompaniment apparatus according to one aspect of the present invention, the accompaniment information generation unit is configured such that the control unit generates accompaniment information having a predetermined effect as accompaniment information based on a condition deviating from the predetermined condition. It is characterized by controlling.

  In the accompaniment apparatus according to one aspect of the present invention, the control means combines the input performance information and predetermined sound information as accompaniment information based on a condition deviating from the predetermined condition. The accompaniment information generating means is controlled so as to be generated.

  The accompaniment apparatus according to one aspect of the present invention further includes a temperament designating unit that designates a temperament, and the predetermined sound information is any one of the tone information included in the temperament designated by the temperament designating unit. It is characterized by being.

  The accompaniment apparatus according to one aspect of the present invention is characterized in that the accompaniment information generation unit generates unison accompaniment information of the input performance information as the generated accompaniment information.

  In the accompaniment apparatus according to one aspect of the present invention, the control unit corresponds to the time from when the input performance information is determined to be in a predetermined state to when the input of the performance information is completed. Control is performed so as to generate accompaniment information based on a condition deviating from a predetermined condition.

  In the accompaniment apparatus according to one aspect of the present invention, the control means starts from the corresponding predetermined condition from the time when the input performance information is determined to be in a predetermined state to a predetermined timing. Control is performed to generate accompaniment information based on the deviating conditions.

  In the accompaniment device according to one aspect of the present invention, the determination unit is configured to be able to determine each of a plurality of states of the input performance information, and the predetermined state is a combination of the plurality of states. It is characterized by determining whether it exists in.

  According to another aspect of the present invention, there is provided an electronic musical instrument including the accompaniment apparatus and sound source means for generating a musical sound based on the accompaniment information generated by the accompaniment apparatus.

  ADVANTAGE OF THE INVENTION According to this invention, it becomes possible to implement | achieve the electronic musical instrument suitable for the performance of heterophonic music, the control method of an electronic musical instrument, and a program.

FIG. 1 is a diagram showing an external appearance of an electronic musical instrument according to an embodiment of the present invention. FIG. 2 is a block diagram showing a hardware configuration of the electronic musical instrument according to the embodiment of the present invention. FIG. 3 is a musical score showing a temperament according to “Makam Bayati” of the melody system in Arabic music. FIG. 4 is a diagram showing an example of a song played in “Makam Bayati”. FIG. 5 is a diagram showing an example of a temperament according to another McCamm. FIG. 5A shows “Maquam Sikah”, and FIG. 5B shows “Makam Huzam”. ) "Example. FIG. 6 is a diagram showing an example of a musical piece performing a harmony accompaniment in Western music. FIG. 7 is a diagram showing an example of a piece of music accompanied by a part that is partially melodic accompaniment. FIG. 8 is a diagram showing an example of a normal pattern in the accompaniment format set / deviation method designation table according to the present embodiment. FIG. 9 is a diagram showing an example of a solo pattern in the accompaniment format set / deviation method designation table according to the present embodiment. FIG. 10 is a diagram showing an example of a fill-in pattern in the accompaniment format set / deviation method designation table according to the present embodiment. FIG. 11 is a musical score showing an example of a drum pattern (rhythm pattern). FIG. 12 is a musical score showing an example of a drone pattern. FIG. 13 is a diagram showing a specific example of the melody departure pattern. FIG. 14 is a diagram illustrating a specific example of the condition for the departure trigger. FIG. 15 is a musical score showing an example of a pall triller. FIG. 16 is a flowchart showing an example of a main flow executed in the electronic musical instrument 10 according to the present embodiment. FIG. 17 is a flowchart showing an example of automatic accompaniment processing for performing a heterophony performance. FIG. 18 is a flowchart (first page) illustrating an example of melody departure trigger detection processing. FIG. 19 is a flowchart (second page) showing an example of melody departure trigger detection processing. FIG. 20 is a flowchart illustrating an example of the melody departure process. FIG. 21 shows the deviation patterns of “deviation pattern a“ detune 5% up ”, deviation pattern b“ 16th note delay ”, deviation pattern c“ velocity 10% up ”, deviation pattern k“ tone range designation ”in FIG. It is a flowchart which shows an Example. FIG. 22 shows the deviation pattern f “tremolo / battery performance”, deviation pattern g “pronunciation of melody and start sound”, deviation pattern h “trill insertion into continuous melody”, deviation pattern i “same beat repeated” in FIG. It is a flowchart which shows the Example of each deviation pattern. FIG. 23 shows an example of a departure pattern generation process in the case of a departure pattern f “tremolo / battery performance” or a departure pattern g “alternative pronunciation of melody and start sound”. FIG. 24 shows an example of the departure pattern generation process in the case of the departure pattern h “inserting a toll into a continuous melody”. FIG. 25 is a flowchart showing an example of each departure pattern of the departure pattern d “plural trailer from above”, the departure pattern e “arpeggio reaching the melody sound”, and the departure pattern 1 “addition of the stuttering sound of Jins” in FIG. is there. FIG. 26 shows an example of a departure pattern generation process in the case of departure pattern 1 “addition of stuttering of Jins”. FIG. 27 is a flowchart showing an example of the departure pattern of departure pattern j “insert side dish” in FIG. FIG. 28 is a table for explaining the characteristics of various fill-in patterns.

  Embodiments of the present invention will be described below with reference to the accompanying drawings. FIG. 1 is a diagram showing an external appearance of an electronic musical instrument according to an embodiment of the present invention. As shown in FIG. 1, an electronic musical instrument 10 according to the present embodiment has a keyboard 100 as a performance operator. Also, on the upper part of the keyboard 100, a tone designation button 11, an automatic accompaniment start / end instruction button 12, a rhythm genre selection button 13, a rhythm element designation button for designating a rhythm pattern (element) in each rhythm genre, etc. 14 and a display unit 15 for displaying various information related to the music to be played, for example, timbre, rhythm pattern, chord name, and the like. The electronic musical instrument 10 according to the present embodiment has a tempo setting button 16 for setting a tempo when adding a heterophony automatic accompaniment.

  The electronic musical instrument 10 according to the present embodiment has, for example, 88 keys (A1 to C8). In addition, the electronic musical instrument 10 can perform under one of two performance modes: an automatic accompaniment mode for turning on automatic accompaniment and a normal mode for turning off automatic accompaniment. This switching can be performed by the automatic accompaniment start / end instruction button 12. Further, when performing a heterophony performance according to the present embodiment, the keyboard 100 is divided into two regions 101 and 102 (split). 101 is a gins specification keyboard for the user to mainly specify the current jins (temperament) with the left hand, and 102 is a melody performance keyboard for the user to mainly play the main melody of heterophony music with the right hand. The electronic musical instrument according to the present embodiment further includes a mode changeover switch for switching between a normal mode for realizing conventional Western musical automatic accompaniment and a heterophony mode for realizing heterophonic automatic accompaniment. May be.

  FIG. 2 is a block diagram showing a hardware configuration of the electronic musical instrument according to the embodiment of the present invention. As shown in FIG. 2, the electronic musical instrument 10 according to the present embodiment includes a CPU 21, a ROM (Read Only Memory) 22, a RAM (Random Access Memory) 23, a sound system 24, a switch group 25, a keyboard 100, and a display unit 15. Is provided.

  The CPU 21 controls the entire electronic musical instrument 10, detects key depression of the keyboard 100, detects operation of switches constituting the switch group 25, temporarily stores them in the RAM 23, and sounds according to the operation of the keys and switches. Various processes such as control of the system 24 and performance of automatic accompaniment according to the automatic accompaniment pattern are executed. Further, the CPU 21 according to the embodiment of the present invention, a departure condition determination unit that executes a melody departure trigger detection process that determines each melody departure condition, and a departure that performs an actual melody departure process based on those departure triggers. The processing unit further includes a sound generation instruction unit that performs sound source sound generation processing for actually sounding the user performance melody and various musical instrument parts subjected to deviation processing.

  The ROM 22 performs various processes to be executed by the CPU 21, for example, switch operation, key depression of any key on the keyboard, tone generation according to the key depression, melody deviation trigger detection process, melody deviation process, sound source A program for executing various processing such as sound generation processing is stored. In addition, the ROM 22 stores a tone color waveform data storage unit storing waveform data for generating musical sounds such as piano, guitar, bass drum, snare drum, and cymbal, and conditions such as deviation according to the present embodiment. Storage unit for accompaniment format set / deviation method specification table, drum pattern storage unit for storing the actual rhythm pattern of the drum pattern specified in the accompaniment format set / deviation method specification table, fill-in pattern when inserting fill-in with melody deviation Is provided with a fill-in pattern storage unit for storing the accompaniment, a drone pattern storage unit for storing the accompaniment drone pattern, and a departure pattern storage unit for storing a predetermined departure pattern such as a prill trailer. These drum patterns, fill-in patterns, drone patterns, deviation patterns, and other various patterns are in a data format (for example, MIDI (Musical Instrument Digital Interface) format) including tone color, pitch, tone generation timing (sound generation time), tone length, and the like. ) Data and waveform data format data (for example, WAV data, MP3 data, etc.). The ROM 22 stores data of predetermined temperament patterns (tricorde, tetracord, pentacord) determined in advance, and melody system (Makam / Gins) data (melody system data) combining the temperament patterns.

  The RAM 23 stores a program read from the ROM 22 and data generated in the course of processing. For example, the RAM 23 stores a rhythm genre storage unit that stores a rhythm genre selected by the rhythm genre selection button 13 and a rhythm pattern (element) storage unit that stores a rhythm pattern (element) specified by the rhythm element specification button 14. A tempo storage unit that stores the tempo set by the tempo setting button 16, a departure trigger storage unit that stores flags of each departure condition determined by the melody departure trigger detection process, and the like.

  The sound system 24 includes a sound source unit 26, an audio circuit 27, and a speaker 28. When the sound source unit 26 receives, for example, timbre information, information about a depressed key or information about a rhythm pattern, deviation pattern, and the like from the CPU 21, it reads predetermined waveform data from the waveform data area of the ROM 22, and Generate and output musical tone data of the pitch of. The sound source unit 26 can also output the waveform data received from the CPU 21 as music data as it is. The audio circuit 27 D / A converts and amplifies the musical sound data. Thereby, an acoustic signal is output from the speaker 28.

  The switch group 25 includes various buttons such as a tone color designation button 11, an automatic accompaniment start / end instruction button 12, a rhythm genre selection button 13, a rhythm element designation button 14, and a tempo setting button 16 shown in FIG. Then, the ON / OFF operation of these buttons is detected and notified to the CPU 21 together with the type information of the operated button.

  The electronic musical instrument 10 according to the present embodiment generates a musical tone based on the key depression of the keyboard 100 under the normal mode. On the other hand, the electronic musical instrument 10 is set to the heterophony automatic accompaniment mode by operating the automatic accompaniment start / end instruction button 12 after setting the heterophony mode for performing the heterophony automatic accompaniment by the mode changeover switch. In this case, for example, the heterophony automatic accompaniment mode may be automatically set according to the rhythm selected by the rhythm genre selection button 13. In the heterophony automatic accompaniment mode, when a user performance melody is played by pressing a key on the melody performance keyboard 102, a musical tone having a pitch corresponding to the key is generated. At that time, the sound is generated with a pitch according to the zinc specified by the Jinz specified keyboard 101 or a preset McCamm. In addition, referring to the accompaniment format set / deviation method specification table, etc., for each accompaniment part, normally when the deviation condition is satisfied while basically playing the melody with user performance melody and unison Deviating from the condition of “accompaniment by unison” at the time, departure patterns with various deviations described below are generated based on the user performance melody. As a result, when the user plays a melody, heterophony music with a heterophonic accompaniment can be easily played.

  Hereinafter, non-Western music melody system, database such as accompaniment format set / deviation method specification table stored in ROM 22 in this embodiment, temperament pattern data and melody system data, various deviation patterns, etc. will be described. . It is assumed that McCamm and Jins data described below are also stored as a McCamm / Jins database in a predetermined area of the ROM 22 of the present embodiment.

  In Western music, until the Middle Ages, it was monophony music such as that represented by Gregorian chant. After that, after polyphony music composed of polyphonic parts, music backed by harmony has become mainstream. ing. However, in regions other than Europe and America, such as the Middle East, Asia, and Africa, monophony music, and heterophony music from which it is developed, are still often played. In this monophony music and heterophony music, a style in which a single melody is changed according to a fine temperament is common.

  FIG. 3 is a musical score showing a temperament according to “Makam Bayati” of the melody system in Arabic music. This “Makam Bayati” can be broken down into six four-tone temperament. “Makam” is configured by combining “Jins”, which is a constant temperament pattern such as Tetra Cord, Tricord. Note that the temperament pattern is referred to as “Jins” in Arabic music, and is referred to as “Gouche” in other regions (for example, the former Persian region).

  In the case of “Makam Bayati” shown in FIG. In FIG. 3, the first bar Jinse (first Jinse) is “Bayati”, the second bar Jinz (second Jinz) is “Last”, and the third bar Jinz (third Jinz) is “Bayati”, 4th bar Jinse (4th Jinse) is “Bayati”, 5th bar Jinz (5th Jinz) is “Nahawand”, 6th bar Jinz (6th Jinz) is “Bayati” Is. Further, the first to third zincs are ascending sound types, and the fourth to sixth zincs are descending sound types. These Jins are tetracords that are four-tone temperament.

  In FIG. 3, the hatched portion of “フ ラ ッ ト (flat)” (see reference numerals 311 to 315) is higher by about ¼ sound than the case where the sound is simply attached. Means. For example, the second sound of the first Jins is a musical tone that is higher by about 1/4 sound than “E ♭”. Therefore, if the width of the sound of all sounds is “1”, the distance between the first sound and the second sound of the first jins and the distance between the second sound and the third sound are “3/4”, respectively. . In FIG. 3, numerals (for example, reference numerals 301 and 302) described below between the notes indicate the width between the adjacent notes when the width of all the sounds is “1”. In the actual “Makam Bayati”, it is not strictly a change of ¼ sound, but since the change is almost ¼ sound, it is expressed as ¼ sound in this specification. ing.

  Thus, when playing an electronic musical instrument in accordance with McArm in Arabic music, it is only necessary to produce a musical tone that is ¼ higher than the pressed key according to the above-described jins. However, as shown in FIG. 3, in “Makam Bayati”, musical tones with different pitches may be generated depending on the gins used, even when the same key is pressed. In the “Makam Bayati” shown in FIG. 3, when the player wants to play the third sound of the second Jins (see reference numeral 321), the player presses the “B ♭” key, It is necessary to produce a musical tone having a pitch that is 1/4 higher than “B ♭”. On the other hand, when the player wants to play the second sound of the fifth gin (see reference numeral 322), the player presses the “B ♭” key, and the electronic musical instrument plays the “B ♭” sound as it is pressed. It is necessary to pronounce a high tone.

  FIG. 4 is a diagram showing an example of a song played in “Makam Bayati”. In this song, the second measure follows "Last", while the third measure follows "Nahawand". Therefore, the pitch of the third note of the second measure is higher than the “B ♭” by ¼ tone (see reference numeral 401), and the pitch of the first note of the second measure is “B ♭”. (See reference numeral 402).

  FIG. 5 is a diagram showing an example of a temperament according to another McCamm. FIG. 5A shows “Maquam Sikah”, and FIG. 5B shows “Makam Huzam”. ) ". As shown in FIG. 5 (a), the first bar gins (first gins) of “Makam Sika” are “Sikah”, and the second bar gins (second gins) are “Last”. ”, The third bar Jinse (the third Jinse) is“ Last ”, the fourth bar Jinse (the fourth Jinse) is“ Sika ”, the fifth bar Jinse (the fifth Jinse) is“ Nahawand ”, The sixth bar Jinse (6th Jinse) is "Sika". Further, the first to third zincs are ascending sound types, and the fourth to sixth zincs are descending sound types. Here too, a problem may occur when the same key is pressed between the third sound of the second Jinse (see reference numeral 501) and the second sound of the fifth Jinse (see reference numeral 502).

  As shown in FIG. 5 (b), the first bar Jinse (first Jinse) of “Makam Fuzam” is “Sikah”, and the second bar Jinse (second Jinz) is “Hijaz”. ”, The third bar Jinse (the third Jinse) is“ Last ”, the fourth bar Jinse (the fourth Jinse) is“ Sika ”, the fifth bar Jinse (the fifth Jinse) is“ Nahawand ”, The sixth bar Jinse (6th Jinse) is "Sika". Further, the first to third zincs are ascending sound types, and the fourth to sixth zincs are descending sound types.

  The Jins “Sika” used in “Makam Sika” and “Makam Fuzam” is a tricord that is a three-tone temperament. Further, in FIG. 5A and FIG. 5B, the rest at the end of the measure to which “sika” is applied (for example, see symbols 511 and 512) is described for convenience, and when performing according to “sika” Does not mean that there is a rest at the end.

  In this way, in monophony music and heterophony music often played in regions such as the Middle East (Arabic), Asia, and Africa other than Europe and the United States, music is played with a temperament according to McCamm, which combines several jins. The

  In addition, in heterophony music that is particularly widely played among the music played in accordance with such McArm, there is a temporary performance while playing the same melody with multiple instruments (voice parts) by using multiple parts. It is common practice that an instrumental performance is performed by performing a performance away from the original melody in order for a musical instrument to be deformed or decorated. Unlike the so-called harmony accompaniment in so-called Western music, the form of accompaniment in such heterophony music is generally accompanied by accompaniment in the form of “melody accompaniment”.

  FIG. 6 shows an example of a piece of music that is performing a harmonic accompaniment in Western music, and FIG. 7 shows an example of a piece of music that is partly accompanied by a melody accompaniment.

  FIG. 6 shows a German national anthem (a section of a string quartet composed by Haydn) as an example of a harmony accompaniment. In this musical composition, the top sound is a melody, and a chord is added to the melody below it, forming a so-called Western musical chord accompaniment.

  On the other hand, in the example of “Kimigayo” shown in FIG. 7, the top note of the first part (the upper staff) is a melody, whereas the second part plays the same melody as the first part. However, it can be seen that the accompaniment is deviating in some places. Note that “Kimigayo” in FIG. 7 is not exactly “heterophony music”, but it has a unison part and a melodic accompaniment part in the song, so it has a melodic accompaniment part. As an example of a well-known song, it is taken up here for convenience of explanation.

  For example, from the first bar to the second bar in FIG. 7, the first part and the second part play the same melody in unison, whereas in the third and fourth bars, the second part is Deviating from the melody melody of the first part, it plays an accompaniment role by a melody different from the first part.

  In the case of FIG. 7, from the third beat of the tenth bar to the end of the tune of the eleventh bar, the first part and the second part are again unison and play the same melody melody.

  Conventional electronic musical instruments that perform automatic accompaniment are mainly electronic musical instruments that perform Western-style chord accompaniment as shown in FIG. 6, and in the part that performs melodic accompaniment in the music as shown in FIG. When the user plays the top melody of the first part, it has been difficult to realize a function of automatically adding other parts and performing automatic accompaniment.

  In the electronic musical instrument 10 according to the present embodiment, each database of the accompaniment format set / deviation method designation table is stored in the ROM 22 in order to realize automatic accompaniment in the above heterophony music.

  8 to 10 are examples of accompaniment format set / deviation method designation tables according to the present embodiment. FIG. 8 shows an example in the normal pattern, FIG. 9 shows an example in the solo pattern, and FIG. 10 shows an example in the fill-in pattern. Hereinafter, the case of FIG. 8 will be described as an example when there is no particular need, but the same applies to the cases of FIG. 9 and FIG.

  As shown in each of FIGS. 8 to 10, the accompaniment format set / deviation method designation table database (see reference numerals 800, 900, and 1000) has a normal time for each rhythm genre name 810 and part name 820, respectively. It has data (conditions for generating accompaniment information for each instrument) such as tone color 830, tone range / drum pattern 840, melody detail (detune) 850, drone 860, etc. Furthermore, as a melody departure method, for each departure pattern, there is data 870 of a melody departure method item in which conditions for executing the departure pattern are defined. In addition, for a part (musical instrument) that performs unison accompaniment at normal times, conditions may be set to perform an unison accompaniment with an octave change (accompaniment by a sound moved by a predetermined octave from the user performance melody).

  In the example of FIG. 8, twelve patterns from pattern a to pattern l are illustrated as the melody departure method 870. Specific contents of each pattern of these melody departure methods will be described later.

  In the example of FIG. 8, examples of the rhythm genre name 810 include “adani”, “Baradi”, and “Malfuf”. These represent genres (rhythm types) of rhythm patterns in Arabic music. When a desired rhythm genre is selected by the rhythm genre selection button 13, the electronic musical instrument 10 according to the present embodiment refers to the data in the accompaniment format set / deviation method designation table related to the selected rhythm genre as follows. Perform the operation.

  The rhythm genre selection button 13 can be used in common with buttons for selecting a rhythm genre such as “rock”, “ballad”, and “pops” in a conventional electronic musical instrument with an automatic accompaniment function. In this case, for example, a switch for switching between the normal mode and the heterophony mode (which may be the Arab music mode or the like) is separately provided, and either rhythm genre is selected according to the operation state of the mode switch. Is possible. That is, when the same rhythm genre selection button 13 is pressed, for example, either “lock” or “adani” rhythm genre can be selected in accordance with the state of the mode switch. On the other hand, instead of sharing the rhythm genre selection button 13, the heterophony mode may be automatically set according to the rhythm genre selected by the rhythm genre selection button 13. For example, the normal mode is selected when the “lock” button is selected, and the heterophony mode is automatically selected when the “Baradi” button is selected.

  When a rhythm genre in the heterophony mode is selected by the rhythm genre selection button 13 and then the user instructs the start of automatic accompaniment by the automatic accompaniment start / end instruction button 12, the electronic musical instrument 10 according to the present embodiment is shown in FIG. While referring to the database of the accompaniment format set / deviation method designation table as shown in FIG. 8 to FIG. 10, the performance of other parts is automatically performed in accordance with the melody part performed by the user, and the accompaniment of heterophony music is performed.

  In other words, a rhythm performance of a selected rhythm genre is performed on a predetermined part such as a drum part, and other accompaniment parts are basically playing the same melody as the melody played by the user, while satisfying certain conditions. In such a case, a musical instrument temporarily performs a performance that deviates from the melody (original melody) in order to give deformation or decoration, thereby realizing heterophony music.

  In this case, for example, the user can specify a rhythm pattern (element) such as a normal pattern, a solo pattern, or a fill-in pattern by operating the rhythm element specifying button 14 with the left hand while playing a melody with the right hand. it can. The electronic musical instrument 10 according to the present embodiment is designated by referring to an appropriate one of the accompaniment format set / deviation method designation tables of FIGS. 8 to 10 according to the designated rhythm pattern (element). Perform a performance that matches the rhythm pattern (element).

  In addition, as an example of FIG. 8, each part name 820 to be accompaniment and the corresponding timbre 830 show an example in which accompaniment is performed with five parts (timbres) for each rhythm genre.

  For example, FIG. 8 shows that a percussion instrument tone “Dalbucca” is used as a percussion instrument corresponding to a drum, and a “wood bass” tone is used as an instrument corresponding to a bass, common to each rhythm genre. .

  For accompaniment parts 1 to 3, it is specified that accompaniment part 1 uses the timbre of the musical instrument “Oud” and accompaniment part 2 uses the timbre of the musical instrument “nai”. Further, as the accompaniment part 3, it is specified that the “violin” tone color and the “string” tone color are switched in accordance with the rhythm genre. Actually, the tone of each of these instrument sounds is designated by storing a number or the like for designating which tone color among the tone colors stored in the ROM 22, and for each designated tone color. The waveform is read out and adjusted to the sound specified by various deviation patterns described below in accordance with the melody, and is sounded through the sound system 24.

  Of course, these tone colors can be freely specified for each rhythm genre and for each part. Also, the number of parts to be accompanied does not necessarily have to be a constant number, and it is possible to specify that an arbitrary number of parts should be used according to the rhythm genre.

  Further, in FIG. 8, the item “sound range / drum pattern 840” includes designation of a sound range (octave) for each part and designation of a drum pattern to be used for the drum part. Here, the designation of “0” as the sound range represents that the sound is generated in the normal sound range (the octave of the timbre registered in the octave of the user performance melody).

  On the other hand, in FIG. 9 and FIG. 10, when the solo pattern is designated by the rhythm element designation button 14 (FIG. 9), the fill-in pattern is designated (FIG. 10), etc. It shows that the performance is changed. For example, when the range data in these tables is “−1”, the sound of the corresponding part is generated by a sound that is one octave lower. Further, “+1” indicates that the performance is increased by one octave, “+2” indicates that the performance is increased by two octaves, and “−2” indicates that the performance is decreased by two octaves.

  For example, in the case of FIG. 9, when a solo pattern is specified in the rhythm genre “adani”, the accompaniment part 1 “Oud” and the bass part “Wood Bass” are each played in a range one octave lower. It means that it is done.

  In addition, in the item “sound range / drum pattern 840” for the drum part, the number of the drum pattern played with the tone color “Dalbucca” is designated. Here, “A02”, “A03”, “A07”, and the like are drum pattern numbers. An example of this drum pattern is shown in FIG.

  In FIG. 11, the difference in pitch may be such that a tone color (sampling sound) corresponding to each pitch is played, such as a drum set in a general MIDI sound source. For example, C4 (tone on the lower first line of the treble clef) is a tone when the Dalbucca is opened, F4 (tone between the first treble symbols) is a tone when the Dalbucca is closed, etc. It is possible to add a variety of rhythm patterns.

  Further, in the item “detune with melody” 850 in FIG. 8, the detune width of each instrument can be set in advance.

  Detune designates the tuning range of the tone pitch of each instrument. Conventionally, in an electronic musical instrument, a pitch range of 1 / 100th of a semitone (that is, a pitch range of 1% of a semitone) is referred to as “1 cent”, and by specifying this value, Tuning is possible. The value of “detune 850 with melody” in FIG. 8 represents the tuning range in units of “cents”.

  For example, in the case of the rhythm pattern “adani” in FIG. 8, “oud” of accompaniment part 1 is played with a sound that is 2 cents lower than the melody, and “nai” of accompaniment part 2 is played with a sound that is 3 cents higher. A “violin” of 3 is designated to be played 5 cents higher.

  As described above, in heterophony music, a format in which a certain instrument temporarily deviates while a plurality of instruments (voice parts) perform the same melody basically by a plurality of parts is generally used. Often musical instruments play the same melody. For this reason, there are cases where it is desirable to obtain effects such as making the sound broader by giving a slight tuning difference for each instrument as shown in FIG.

  Although not shown in FIG. 8, similarly, an item for setting the pan is provided for each musical instrument, and the localization of each musical instrument is set to be changed for each part to obtain further sound spread. It is also possible to set so that In this case, for each instrument, for example, the center can be set to 0, and the localization position can be designated by a value from −64 to +63 at the left and right.

  Further, in the item “Drone 860” in FIG. 8, the pattern number of the drone in the case of performing “Drone” often found in folk music is specified.

  “Drone” means playing a relatively monotonous and sustained sound. Often played with low tones, such as the main sound often found in Indian music and the sound that is sustained by repeating the fifth sound. In addition, in bagpipes, there is a case where a constant low-pitched continuous sound such as the sound of F (F) is continuously generated, which is also considered as a kind of drone. Orgenpunkt is another type of drone.

  An example of this drone pattern is shown in FIG. In the present embodiment, an example is shown in which a drone is designated in the case of the solo pattern in FIG. 9 or the fill-in pattern in FIG. Here, “p10”, “p15”, and “p12” represent drone pattern numbers. Actually, for example, the drone pattern (example 1) of FIG. 12 is realized as p10 and the drone pattern (example 2) is p15 and is stored in the drone pattern storage area in the ROM 22 in the MIDI format.

  In addition, the item “melody departure method 870” in FIG. 8 indicates conditions for performing departure for various melody departure patterns a to l. Specific examples of the melody departure patterns a to l of the “melody departure method 870” are shown in FIG. FIG. 14 shows an example of individual “deviation triggers” in which conditions for executing various melody deviation patterns are subdivided.

  The electronic musical instrument 10 according to the present embodiment corresponds to the case where the condition of “deviation trigger” indicated as a condition in each square is satisfied with reference to the column of “melody deviation method 870” in FIG. The deviation method (a to l) of the square to be performed is performed by the corresponding part.

  For example, when the rhythm genre “adani” is selected by the rhythm genre selection button 13 and “normal pattern” is specified by the rhythm element specification button 14, “adani” in the table 800 of FIG. The column of “Melody departure method 870” is referred to.

  Then, the situation of the melody played by the user is, for example, the condition of trigger number 1 “melody velocity is greater than before” in “deviation trigger” shown in FIG. When both of the conditions of “extended” are satisfied, it is specified that the deviation of the deviation pattern “i” shown in FIG. Yes.

  The specific contents of the examples a to l of the melody departure pattern in FIG. 13 will be described below.

  The departure pattern “a” is “detune 5% up”. This is to increase the value of “detune with melody 850” set for the part in FIG. 8 by 5 cents for the part for which the deviation pattern a is designated.

  Actually, the part is played by changing the direction of detune with the melody being played by the user. That is, when the original detail value of the corresponding part is a plus value, the corresponding part is played with a detail value obtained by adding +5 to the original detail value. On the other hand, if the original detune value of the corresponding part is a negative value, the corresponding part is played with a detune value of −5 from the original detune value.

  In this case, the width for changing the detune value is not necessarily a constant value (for example, 5 cents). For example, a value that is half the original detune value (such as +2 if the original detune value is +4). It is also possible to add more.

  The departure pattern “b” is “delay 16th note”. This is to cause the part for which the deviation pattern b is designated to be delayed by 16th notes from the melody being played by the user.

  In this case, the timing to delay is not necessarily a predetermined note length. For example, for automatic accompaniment, the length of the delayed note may be changed according to the tempo setting designated by the user using the tempo setting button 16.

  The departure pattern “c” is “Velocity 10% up”. This is because, for a part for which the deviation pattern c is specified, a sound that is larger than the normal time is played by raising the normal velocity (keying strength / sound strength) of that part by 10%. It is what makes you pronounce.

  In this case, the range in which the velocity is increased may be the velocity value obtained by “+10” as the velocity value in the MIDI standard for the original velocity value (normally specified value), or by the user's performance. An additional 10% of the velocity value of the melody may be added.

  As the normal velocity value, for example, a velocity value preset for each pattern may be used, or a velocity value based on a velocity value played by the user may be used. In this case, the deviation of “Velocity 10% up” of the deviation pattern “c” is based on the velocity of the melody being played by the user, and is played at a velocity obtained by + 10% or a velocity value +10. be able to.

  The departure pattern “d” is “plural trailer from above”. This is a decoration for adding a prill triller or trill to the sound of the melody being played by the user for the part for which the deviation pattern d is designated.

  FIG. 15 shows an example of a pall triller. In Western music, the general ruler generally refers to the renditions represented by symbols as shown in the upper part of Fig. 15, and a decoration that returns to the original sound after playing the sound above or below the original sound is added to the note. This is a decoration that is added to the head. Actually, for example, as shown in the lower part of FIG. 15, it is a deviation pattern in which the original sound “do” is played with decorations such as “red” from the above sound “le”.

  Although other deviation patterns may be set, in this deviation pattern d, the assumed musical instrument is set to “nai flute”. In this case, when trying to select such a deviation pattern for a part other than the assumed musical instrument, it is possible to include processing such as invalidation.

  For example, the accompaniment part musical instrument of FIG. 8 is not the musical instrument set in FIG. 8, but if the user can select any musical instrument, the “melody deviation method” matrix of FIG. Even when the conditions described in the portion are satisfied, it is possible to perform processing such as not to shift to a performance with a deviation pattern with an instrument other than the assumed instrument of FIG. The restriction process for such an “assumed instrument” is the same for other deviation patterns.

  The departure pattern “e” is “Arpeggio that reaches the melody sound according to the specified pattern”. This is because, for the part for which the deviation pattern e is designated, the sound of the melody played by the user in the arpeggio is used by using the sound included in the currently designated Tetra Cord (Jins or the constituent Jins in McCarm). Decorations that reach the sound.

  The deviation pattern “f” is “tremolo / battery performance”. This is called a trill, tremolo, or battery performance method by causing a melody sound played by the user and a specific sound to be alternately generated at a predetermined speed for a part for which the deviation pattern f is designated. Play with effects. This deviation pattern f is, for example, for performing melody decoration (deviation) by the performance form of the folk instrument called “Santoul”.

  Specifically, for example, it is possible to generate a trill between the sound played by the user and the adjacent sound. In addition, it is possible to generate a trill or tremolo between the sound played by the user and the start sound and stop sound of the currently specified macham (or ginsu). Further, tremolo may be generated between the sound played by the user and the sound different in octave.

  The departure pattern “g” is “alternative pronunciation of a melody and a start sound according to the note value of the melody”. This is because when the sound of the melody being played by the user is extended longer than a predetermined length for the part for which the deviation pattern g is specified, the sound being played by the user and the currently specified McArm ( Or the start sound of Jinsu).

  Here, in this example, in this deviation pattern g, it is assumed that the user performance melody sound and the macamu (or Jinsu) start sound are alternately generated with a relatively slow rhythm, and the deviation patterns f, h, etc. “Trill” and “tremolo” are decorated with a relatively fast rhythm (short sound).

  The departure pattern “h” is “inserting a toll into a continuous melody”. This is to perform decoration (deviation) by inserting a trill when the user-played melody sound is extended more than a predetermined length (maintained by the same sound) for the part for which the deviation pattern h is specified. It is.

  The departure pattern “i” is “same beat repeated”. This is a decoration (deviation) in which a user-played melody sound is cut into short notes for a part for which the departure pattern i is specified.

  The deviation pattern “j” is “fill-in insertion in the second half of a measure with no melody”. This is because, when it is determined that the user melody sound is resting (not being played) and is coming in the second half of the measure, the part for which the deviation pattern j is specified is filled in with a predetermined pattern. The decoration (deviation) is performed by inserting.

  In this case, the fill-in pattern can be selected from the registered pattern according to the currently designated tetracord (Jinz, or the component Jinse in McCarm).

  The deviation pattern “k” is “sound range designation”. This is to play the same melody as the melody sound played by the user in a different octave for the part for which the deviation pattern k is specified. Even if the melody is the same as the melody sound played by the user, it is possible to increase the thickness of the heterophony performance by raising or lowering the range with an instrument.

  For example, when it is determined that a song is swelled, an automatic accompaniment is performed by playing the same melody as a melody sound played by the user with a sound one octave higher than normal for a certain instrument.

  The deviation pattern “l” is “addition of Jin's roar”. This is for decorating (departing) by adding a roar to the melody sound played by the user for the part for which the departure pattern l is specified.

  Roaring is a kind of non-harmonic sound and is also called pre-percussion sound. Here, decoration (deviation) is performed on the sound of the melody played by the user after the sound adjacent to the melody sound is first generated and then transferred to the user's melody sound. The length of the stuttering sound is shifted to a melody sound played by the user after the stuttering sound is generated for a predetermined length. The length of the stuttering may be changed according to the tempo setting designated by the user with the tempo setting button 16 for automatic accompaniment.

  Whether or not the electronic musical instrument 10 according to the present embodiment should make a certain deviation for a certain part with reference to the column of “Melodies Deviating Method 870” in FIG. Judging. The individual elements determined as the departure conditions at that time are shown as individual “deviation triggers” in FIG. The deviation conditions and deviation patterns shown in FIGS. 8 to 10, 13, and 14 are examples, and the deviation conditions may be determined using other conditions or other triggers. It is also possible to define other deviation patterns and perform other deviation methods.

  The trigger number “1” is a flag indicating whether or not “the melody velocity has become larger than before”. For example, the melody pressed by the user is determined based on the “velocity” value of the MIDI format data. . For example, for the key depression melody of the user, if the velocity value of the current sound is larger than the velocity value of the current sound and the velocity value of the sound of a predetermined period before that is compared, the ON (1 ).

  In this case, in order to avoid an abrupt change or error (noise) malfunction, for example, the average value of the velocity values of the most recent sounds may be compared, such as a moving average. In addition, the velocity values of the immediately preceding sound and the current sound may be determined not only by their magnitude, but also by determining that this trigger is turned ON (1), for example, if the velocity value is 20% higher than the immediately preceding value.

  The trigger number “2” is a flag indicating whether or not it is “the head of a measure”. For example, this may be set to ON (1) only at the beginning of the first beat of the measure, or ON only for a predetermined period (for example, one eighth note) from the beginning of the measure. (1) or ON for a predetermined period before and after the beat (for example, from one 16th note to one eighth note after the start) (1) You may make it become.

  The trigger number “3” is a flag indicating whether or not “no more than 4 beats from the previous melody off”. This is a flag that is turned on (1) when the melody sound is not played for 4 beats or more and turned off (0) when the melody sound is pressed next time. The condition of “4 beats” may also have a necessary number of other beat number flags as necessary.

  The trigger number “4” is a flag indicating whether or not “the melody is extended by 2 beats or more”, and literally ON (1) when the user's key-pressed melody sound is extended by 2 beats or more. When the melody sound is released, it becomes OFF (0).

  The trigger number “5” is a flag indicating whether or not “the second half of the measure”. Here, since a 4-beat performance is assumed, it is ON (1) at the 3rd and 4th beats of the measure, and OFF (0) at other times (the first half of the measure). This “second half of the measure” flag can be appropriately changed according to the time signature of the rhythm.

  The trigger number “6” is a flag indicating whether or not “melody off”, and is OFF (0) while the melody is pressed, and is ON (1) when no melody is pressed.

  The trigger number “7” is a flag indicating whether or not “the melody pattern is repeated three times”. Actually, for example, based on the current sound, it is divided by a predetermined number of beats from the present (half beat, one beat, two beats, etc.) or a predetermined number of sounds (for example, 3 to 8 sounds). It is determined whether the same melody pattern appears three times in succession, and when the same melody is repeated three times, it becomes ON (1), and a melody that does not meet this condition is pressed. And OFF (0). The number of repetitions may be other than three.

  The trigger number “8” is a flag indicating whether or not “the melody is extended more than half a beat”. Like the trigger number “4”, when the user's key-pressed melody sound is extended more than a half beat. Is ON (1), and is OFF (0) when the melody sound is released.

  As described above, for each of various rhythm genres and rhythm patterns (elements), the basic operation setting of each part used in that case and the melody deviation method are stored in the ROM 22 to match the user's melody performance. In this embodiment, the melody deviating based on the melody played by the user is appropriately performed when the melody deviating condition of the ROM 22 is met while basically playing the same melody as the user playing melody. The electronic musical instrument 10 can perform a performance with a heterophony-like automatic accompaniment.

  Hereinafter, the process executed in the electronic musical instrument 10 according to the present embodiment will be described in more detail.

  FIG. 16 is a flowchart showing an example of a main flow executed in the electronic musical instrument 10 according to the present embodiment. When the power of the electronic musical instrument 10 is turned on, the CPU 21 of the electronic musical instrument 10 executes initial processing (initialization processing) including initialization of data in the RAM 23 and clearing of the display screen of the display unit 15 (step SA1). ). In this initial process, McCamm and Jins data are read from the ROM 22 and stored in a predetermined area of the RAM 23.

  When the initial process (step SA1) ends, the CPU 21 checks whether or not the rhythm genre selection button 13 is instructed to select a rhythm genre (step SA2). The rhythm genre selection button 13 selects a rhythm genre such as “adani”, “Baradi”, or “Malfuf” as shown as the rhythm genre name 810 in FIG. If so (step SA2: Yes), the CPU 21 internally sets the selected rhythm genre (step SA3). That is, information such as a number corresponding to a rhythm genre is stored in a predetermined rhythm genre storage area of the RAM 23, and for example, referring to FIG. 8, the sounds of musical instruments used in the selected rhythm are stored in a preset tone color list. The rhythm pattern of the selected rhythm is read out from the ROM 22.

  In FIG. 16, it is assumed that rhythm genre selection / set is performed before the actual heterophony performance starts, and the processing of steps SA2 and SA3 is performed before entering the loop from step SA5 to step SA12 below. Although it is supposed to be performed, it may be configured to be changeable during the loop.

  Subsequently, the CPU 21 determines whether or not the automatic accompaniment start / end instruction button 12 is instructed to start automatic accompaniment (step SA4). If the start of the automatic accompaniment is not instructed (step SA4: No), the heterophony performance mode according to the present invention is not started, and is terminated without doing anything.

  When the start of automatic accompaniment is instructed (step SA4: Yes), the CPU 21 repeatedly executes the following processing from step SA5 to step SA12 to realize the heterophony performance according to the present invention. Then, in step SA12, the loop from step SA5 to step SA12 is repeatedly executed until it is determined that the end of automatic accompaniment is instructed by the automatic accompaniment start / end instruction button 12.

  First, the CPU 21 determines whether or not a rhythm pattern (element) has been selected by operating the rhythm element designation button 14 (step SA5). Here, in the electronic musical instrument 10 according to the present embodiment, as described above, the user operates the rhythm element designation button 14 with the left hand while playing the melody with the right hand, thereby normal patterns, solo patterns, Rhythm patterns (elements) such as fill-in patterns can be specified. When this rhythm pattern (element) is designated (step SA5: Yes), the designated rhythm pattern (element) is set (step SA6). Specifically, information such as a number corresponding to a rhythm pattern (element) is stored in a predetermined rhythm pattern (element) storage area of the RAM 23, and any of the tables shown in FIGS. Is switched according to the specified rhythm pattern (element).

  The CPU 21 checks whether the tempo has been set (changed) using the tempo setting button 16 (step SA7). If a tempo change operation has been performed (step SA7: Yes), an appropriately designated tempo is set. Setting to change to (step SA8).

  Next, the CPU 21 performs an automatic accompaniment process for performing a heterophony performance with the electronic musical instrument 10 according to the present embodiment (step SA9). This automatic accompaniment process will be described later with reference to FIG.

  The CPU 21 transmits and receives the actual sound from the sound system 24 by performing transmission / reception of a tone color, pitch, tone length, or waveform file to be generated by the sound source based on various processes performed by the automatic accompaniment process. Processing to generate sound is performed (step SA10). Although described in detail below, here, for example, the main melody played on the melody playing keyboard 102 is sounded based on the gins designated by the gins designated keyboard 101. Further, for example, for a musical instrument in which a melody deviation related to a heterophony performance is designated, a process of generating a sound that makes the designated deviation is performed.

  More specifically, first, a melody being played by the user is pronounced with a specified melody tone color. Further, referring to FIG. 8 to FIG. 10, for each part (820, etc.), sounding with a designated tone color is performed. At this time, for each part, referring to the deviating flag [Part, Pattern] stored in the RAM 23, if it is found that a part is deviating (if the flag is ON (1)), Deviations are generated according to the deviation pattern indicated by the number of Patterns on which the flag stands. Further, if such a deviation flag is not set (if the flag is OFF (0)), the same melody is generated for the part by the melody being played by the user and the unison. Note that a specific method of pronunciation with deviation according to each departure pattern will be described in detail in the following description of the flowchart of each departure pattern.

  When the sound source sound generation process (step SA10) is completed, the CPU 21 executes other processes (for example, image display on the display unit 15, lighting of LEDs (not shown), turning off, etc .: step SA11).

  Subsequently, the CPU 21 determines whether or not the automatic accompaniment start / end instruction button 12 is instructed to end the automatic accompaniment, that is, the end of the performance in the heterophony mode (step SA12). When the end of automatic accompaniment is not instructed (step SA12: No), the process returns to step SA5, the loop process is continued to continue the heterophony performance, and the end of automatic accompaniment is instructed (step SA12: Yes). The series of processes shown in FIG.

  Next, the automatic accompaniment process for performing the heterophony performance with the electronic musical instrument 10 according to the present embodiment, which is executed in step SA9 described above, will be described in detail with reference to FIG.

  When the automatic accompaniment process of FIG. 17 is called from the main flow of FIG. 16, the CPU 21 determines whether or not there is an accompaniment key, that is, a key press of the Jinz designation keyboard 101 (step SB1). If the accompaniment key (jins designation keyboard 101) has been depressed (step SB1: Yes), the jinth setting is changed according to the depressed key (step SB2).

  This is, as mentioned above, even if it is a song of a certain Macamu, for example, the jinse changes between the ascending sound type and the descending sound type, and the sound to be pronounced changes even if the same key is played, etc. This is because, in order to match the characteristics of Arabic music, it is possible to appropriately specify the zinc on the Jinz designation keyboard 101, and to change the jinth setting accordingly.

  Next, the CPU 21 determines whether or not there is a key depression of the melody performance keyboard 102 (step SB3). When there is a key depression of the melody performance keyboard 102 (step SB3: Yes), a tone having a pitch corresponding to the depressed key and the currently set gins is generated as the main melody of the user performance. (Step SB4).

  At this time, in the case where the specification of the gins by the gins specification keyboard 101 and the melody performance sound by the melody performance keyboard 102 are contradictory, for example, the specified jins does not exist (no assignment is made). When a sound is designated by the melody performance keyboard 102, the sound is generated as per the original McCamm, or such a sound is ignored and not processed. For example, before entering the loop processing from step SA5 to SA12 in the main flow of FIG. 16, the user can set McCamm in advance by using a setting button (not shown), for example, in the same manner as setting the rhythm genre. it can. Or, simultaneously with the setting of the rhythm genre, the McCamm frequently used in the rhythm may be automatically set.

  Thereafter, the CPU 21 performs a melody departure trigger detection process (step SB5). This melody departure trigger detection process will be described later with reference to FIGS. 18 and 19, but based on the sound of the melody input to the user, the individual “deviation trigger” shown in FIG. It is determined whether or not the condition is satisfied, and the flag value of each trigger is set to ON or OFF.

  After the determination and flag setting for each departure trigger are performed, the CPU 21 performs melody departure processing (step SB6). This melody departure process will be described later with reference to FIG. 20 and subsequent drawings. By referring to the tables in FIG. 8 to FIG. 10 as appropriate based on the flag values of each departure trigger, the departure from each melody is performed. It is individually determined whether or not a condition for performing the above is satisfied, and if a condition for performing a certain departure pattern is satisfied, control is performed so that the part for which the condition is satisfied performs a departure that satisfies the condition.

  First, the melody departure trigger detection process executed in step SB5 will be described with reference to FIGS. In this figure, it is assumed that the departure trigger determination result (flag) of each trigger number is stored in a predetermined area of the RAM 23 in an array of Trigger [].

  First, the CPU 21 determines whether or not the current performance is the beginning of a measure (step SC1). If it is the beginning of a measure (step SC1: Yes), a flag of trigger number 2 (the beginning of the measure) is flagged. Trigger [2] is set to ON (1) (step SC2). On the other hand, if it is not the head of a measure (step SC1: No), the trigger number 2 flag Trigger [2] is set to OFF (0) (step SC3).

  Specifically, when the automatic accompaniment is on and the automatic accompaniment mode is set (in the case of the heterophony performance mode), a rhythm pattern corresponding to the currently selected rhythm genre / rhythm pattern is displayed on the tempo setting button 16. Since the playback is performed at the tempo set by, the position of the beat number in the current measure is checked according to the timing (tempo). If the beat position in the current measure exists, for example, from the beginning of the first beat (the beginning of the measure) to the front of the second beat (the end of the first beat), It will be judged.

  Subsequently, the CPU 21 determines whether or not the current performance is after the third beat (step SC4), and when it is after the third beat (step SC4: Yes), the trigger number 5 (the second half of the measure). ) Flag Trigger [5] is set to ON (1) (step SC5). On the other hand, if it is not the head of a measure (step SC4: No), the trigger number 5 flag Trigger [5] is set to OFF (0) (step SC6).

  Specifically, as in step SC1, based on the current rhythm pattern and tempo setting, it is determined which beat position in the measure is the current timing. And, if the beat position in the current measure exists from the beginning of the third beat (the beginning of the measure) to immediately before the next measure, it is determined that it is “after the third beat”. Become. For example, if a 4-beat rhythm pattern is being played, Trigger [5] is turned ON (1) when the performance position is between the third and fourth beats.

  Next, the CPU 21 determines whether or not there is a melody pressing key by the user, that is, whether or not a melody is input on the melody performance keyboard 102 (step SC7). Each melody departure trigger includes a trigger that turns on when the melody is pressed, or a flag that turns on when there is no melody pressed. The following processing is distributed according to the determination of SC7.

  That is, when a melody is input (step SC7: Yes), first, the trigger numbers 3 (not on for 4 beats from the previous melody off) and 6 (melody) are turned on when there is no melody pressed. The off flag Trigger [3] and Trigger [6] are set to OFF (0) (step SC8).

  On the other hand, when the melody is not input (step SC7: No), the trigger number is 1 (the melody velocity is larger than the previous one), 4 (the melody is 2 beats or more) when the melody is pressed. Each of the flags Trigger [1], Trigger [4], Trigger [7], Trigger [8] is OFF. (0) is set (step SC9).

  If the melody is not input (step SC7: No), the CPU 21 determines the flag that can be turned ON when there is no melody key following the above-described various deviation trigger flag OFF processing (step SC9). Do. First, since there is no melody pressing key, it can be determined that the trigger number 6 “melody off” has been established at this time, so in step SC10, Trigger [6] is turned ON (1) (step SC10). ).

  Next, the CPU 21 checks whether the rest is 4 beats or more, that is, whether or not the melody has been pressed for 4 beats or more from the previous melody release (step SC11). When the rest is 4 beats or more (step SC11: Yes), the trigger number 3 “4 beats from the previous melody off and not on” is satisfied, so Trigger [3] is turned ON (1). (Step SC12). On the other hand, if there is no rest for four beats or more from the previous melody release, Trigger [3] is turned OFF (0) (step SC13).

  When the determination of the flags (here, trigger number 3 and trigger number 6) that can be turned on when no melody is input is completed, the process proceeds to step SD16. Subsequent processing will be described later.

  On the other hand, when a melody is input (step SC7: Yes), as described above, after the trigger numbers 3 and 6 are turned off in step SC8, the process proceeds to step SD1 in FIG. Thus, the flag that can be turned on when the melody key is pressed is determined.

  First, the CPU 21 determines whether the currently pressed melody key has been newly pressed after the previous determination process, or continues to be pressed after the previous determination. It is determined whether the sound has been played (step SD1). Specifically, for example, a buffer (not shown) is provided on the RAM 23, and the information (pitch, key pressing start time, etc.) of the key being pressed at that time at each step SD1 is displayed. It is possible to make a determination by storing the key press information stored in the previous buffer and the current key press information at the time of the next step SD1.

  If the currently pressed melody key is a new melody key press (step SD1: Yes), trigger number 4 (melody extends over 2 beats) or trigger number 8 (melody extends over half beats) Therefore, the flags Trigger [4] and Trigger [8] are set to OFF (0) (step SD2).

  Subsequently, the CPU 21 may be established when the current melody key press is a new melody key press, and trigger number 1 (the melody velocity is greater than before) and trigger number 7 (the melody pattern is The determination is made for (repeat three times) (step SD3 to step SD9).

  First, the CPU 21 determines whether or not the velocity of the melody is increased by 20% or more (strongly pressed) compared to the velocity of the immediately preceding sound (step SD3). If this condition is not satisfied (step SD3: No), it is further determined whether or not the velocity of the melody is increased by 15% or more (strongly pressed) from the average value of the previous measure. (Step SD5).

  If any of the determinations of step SD3 or step SD5 is satisfied (step SD3: Yes, step SD5: Yes), it is determined that “the melody velocity is greater than before”, The trigger number 1 flag Trigger [1] is set to ON (1) (step SD4). On the other hand, if neither the determination condition of step SD3 nor the determination condition of step SD5 is satisfied (step SD3: No to step SD5: No), the flag Trigger [1] of the trigger number 1 is turned OFF (0 ) (Step SD6).

  Further, the CPU 21 determines whether or not the same melody pattern is repeated three times (step SD7). Specifically, for example, a melody played (key pressed) by a user is stored in a time series in a melody history storage buffer (not shown) on the RAM 23, and several sounds including the currently pressed melody are stored. It can be determined by determining whether or not the several sounds are repeated three times. In that case, the number of repeated “several sounds” is divided into a melody history in the melody history storage buffer by a predetermined number of sounds, for example, about 3 to 8 sounds, and the melody history storage buffer It can be realized by sequentially checking whether or not the repetition condition is satisfied when the melody is divided by the number of repeated sounds described above.

  If the same melody pattern has been repeated three times according to the result of determination in step SD7 (step SD7: Yes), the trigger Trigger 7 flag Trigger [7] is set to ON (1) (step SD8). ). On the other hand, when the same melody pattern is not repeated three times (step SD7: No), the trigger Trigger 7 flag Trigger [7] is set to OFF (0) (step SD9). Thereafter, the CPU 21 advances the process to step SD16. Subsequent processing will be described later.

  On the other hand, returning to step SD1, if the currently pressed melody key is not a new melody key (step SD1: No), the CPU 21 trigger number 4 (the melody extends two or more beats). Alternatively, the trigger number 8 (the melody extends for more than half a beat) is determined (step SD10 to step SD15). In this case, since there is no new key press, the trigger number 1 (the melody velocity is larger than before) and the trigger number 7 (the melody pattern is repeated three times) are already determined. These flags are held as they are, and OFF (0) clear of these flags is not performed.

  First, the CPU 21 determines whether or not the currently pressed melody sound is a sound that is longer than half a beat (continuously pressed) (step SD10). Specifically, the determination can be made by comparing the key pressing timing of the melody sound that is currently pressed with the current timing.

  When the currently pressed melody sound does not extend for more than half a beat (step SD10: No), the trigger number 8 flag is set to Trigger [8] OFF (0) and, of course, the currently pressed key is pressed. Since the melody sound that is being played cannot extend more than two beats, the trigger number 4 flag Trigger [4] is also turned OFF (0) (step SD11).

  On the other hand, if the currently pressed melody sound is longer than half a beat (step SD10: Yes), the trigger number 8 flag is set to Trigger [8] (1) (step SD12). It is determined whether or not the currently pressed melody sound is a sound that has been extended for two or more beats (continuously pressed) (step SD13).

  If the currently pressed melody sound extends for two or more beats (step SD13: Yes), the trigger number 4 flag is set to Trigger [4] ON (1) (step SD14). On the other hand, if the currently pressed melody sound does not extend two beats or more (step SD13: No), the trigger number 4 flag is set to OFF (0) with Trigger [4] (step SD15). Thereafter, the CPU 21 advances the process to step SD16.

  After the determination of each departure trigger and the flag set process are performed as described above, the CPU 21 proceeds to step SD16 following each process of steps SC12, SC13, SD8, SD9, SD14, and SD15. Then, it is determined whether or not the performance has reached the end of the measure (step SD16).

  If the end of the measure has been reached (step SD16: Yes), the flag for which determination is performed for each measure, the flag that is ON (1) when the position is at another measure, and the like are OFF ( Cleared to 0). Specifically, here, the trigger Trigger [1] of the trigger number 1 (the melody velocity has become larger than before), the trigger Trigger [2] of the trigger number 2 (start of measure), and the trigger number 5 (measure) The second half) flag Trigger [5] is set to OFF (0). At this time, the “average of velocity values of the previous bar” used in step SD5 may be calculated and recorded in a predetermined buffer of the RAM 22, and used in the process of step SD5 in the next bar.

  Thus, when the melody departure trigger detection process of step SB5 of FIG. 17 is performed according to the flow of FIGS. 18 to 19, the CPU 21 then performs the melody departure process of step SB6. FIG. 20 is an example of melody departure processing in the present embodiment.

  In the flowchart of FIG. 20, the CPU 21 first stores data indicating “deviation pattern a” as the first deviation pattern in the variable Pattern (step SE1), and further stores the part as the first part in the variable Part. Number 1 is stored (step SE2).

  Then, in the flow shown in FIGS. 18 to 19, the deviation indicated by the variable Pattern in the part indicated by the variable Part based on various deviation triggers already set according to the situation of the user's performance melody or the like. A pattern execution process is performed (step SE3).

  Actually, in this step SE3, a melody deviation execution processing subroutine corresponding to the deviation pattern represented by the variable Pattern is called. The execution processing subroutine for each melody departure will be described later. As a general rule, whether or not to deviate from the departure pattern indicated by the variable Pattern in the part indicated by the variable Part is shown in each table of FIGS. Based on this determination, if the departure is to be made, the part indicated by the Part is processed so as to make the departure from the Pattern.

  Then, for the departure pattern execution process (step SE3), the part number is incremented by 1 in step SE4 (step SE4), and the above-described departure pattern execution process in step SE3 is repeatedly executed until all parts have been inspected. (Step SE5: No) Further, when the inspection of all the parts is completed (Step SE5: Yes), the pattern variable Pattern is incremented by 1 (Step SE6), and the deviation pattern is executed while changing the Part in order from 1 again. (Step SE3) is executed.

  When all the departure patterns have been inspected, this melody departure process is terminated (step SE7: Yes).

  In this way, in the process of FIG. 20, the deviation pattern execution process (step SE3) is performed for all the patterns for all the patterns while sequentially changing the part variable Part and the deviation pattern variable Pattern. ing.

  With respect to the departure pattern execution process executed in step SE3, a corresponding departure pattern execution process is provided for each departure pattern shown in FIG. FIGS. 21 to 27 are flowcharts for explaining the corresponding departure pattern execution processing for each departure pattern. FIG. 28 is a diagram showing the characteristics of the fill-in pattern selected in the case of the deviation pattern j in FIG. Hereinafter, the departure pattern execution process for each departure pattern will be described with reference to these drawings.

  FIG. 21 shows the deviation patterns of “deviation pattern a“ detune 5% up ”, deviation pattern b“ 16th note delay ”, deviation pattern c“ velocity 10% up ”, deviation pattern k“ tone range designation ”in FIG. It is a flowchart which shows an Example. Each of these deviation patterns can be realized by performing the same processing in many steps, and will be described with reference to FIG.

  When the variable Pattern is any one of the deviation pattern a, the deviation pattern b, the deviation pattern c, and the deviation pattern k in step SE3 in FIG. 20, the CPU 21 moves the process to step SF1 in FIG. Is determined (step SF1). In this case, it is assumed that the values of the Pattern variable and the Part variable in FIG. 20 can be referred to in the form of arguments by being taken over by the subroutine of FIG.

  Specifically, an accompaniment format set / deviation method specification table database (any one of the tables of FIGS. 8, 9, and 10) corresponding to the rhythm pattern (element) specified by the rhythm element specification button 14 is used. Referring to the data group regarding the rhythm genre selected by the rhythm genre selection button 13 (for example, any one of adani, Baradi, and Malfuf), the Part variable and the Pattern variable set in the flow of FIG. Reference is made to the deviation condition at the position corresponding to the row of the part name 820 and the column of the melody deviation method (pattern) 870 corresponding to.

  For example, if the rhythm pattern (element) is normal, the accompaniment format set / deviation method designation table 800 of FIG. 8 is referred to, and the rhythm genre selected by the rhythm genre selection button 13 is adani. The data for five lines corresponding to the portion where dandy is written in the rhythm genre name 810 is targeted. If the Part variable is Part 1 and the Pattern variable is the deviation pattern a, the data in the 801 column of the table is referred to.

  Similarly, if the Part variable is 1 and the Pattern variable is the deviation pattern b, the data in the column 802 is referred to. If the Part variable is 2 and the Pattern variable is pattern a, the data in the 803 column is referred to.

  Here, for example, nothing is described as data in column 801 in the table. In such a case, since the part indicates that the deviation pattern currently being investigated is not performed, the determination in step SF1 is No.

  If the rhythm pattern (element) is normal, the selected rhythm genre is Baradi, the Part variable is 3 (accompaniment part 3), the Pattern variable is the deviation pattern a, the subroutine of FIG. 21 is called. If so, the CPU 21 refers to the data in the column 804 (referred to as data 804) in FIG. 8 to determine whether or not the departure condition in step SF1 is satisfied.

  Then, since the data 804 is “1 + 2”, the trigger number 1 (Trigger [1]) of the melody departure trigger and the trigger number 2 (Trigger [2]) determined by the processing of FIG. 18 and FIG. And are referenced. When the departure condition is “1 + 2” as in the data 804 in FIG. 8, the departure condition is satisfied when both Trigger [1] and Trigger [2] are ON (1). Is determined.

  Therefore, in this case, if “melody velocity is greater than immediately before” (trigger number 1) and “start of measure” (trigger number 2), the determination in step SF1 is Yes, and the accompaniment For Part 3, the departure of the departure pattern a is performed.

  If the departure condition is satisfied as a result of the determination as described above (step SF1: Yes), the CPU 21 firstly sets the value of the departure flag [Part, Pattern] assigned to a predetermined area on the RAM 23. Is set to ON (1) (step SF2). Thereafter, the CPU 21 sets a specific deviation according to the deviation pattern indicated by the Pattern variable (step SF4).

  That is, when the Pattern variable is the deviation pattern a, the detune of the part indicated by the Part variable is increased by 5%. If the Pattern variable is the departure pattern b, the part indicated by the Part variable is set to be sounded with a 16th note delay from the melody of the user performance. When the Pattern variable is the deviation pattern c, the velocity value is increased by 10% for the part indicated by the Part variable. When the Pattern variable is the deviation pattern k, the range designation (sound range change) is performed for the part indicated by the Part variable.

  In these cases, in the embodiment of the present invention, in order to realize the “deviation” as the heterophony performance, the above deviation is performed based on the user's performance melody pressing key.

  That is, for example, in the case of the deviation pattern a, when there is no deviation (normal time), the pitch is shifted by the detune (pitch difference) value of each part indicated by “detune with melody” in FIG. When the user performance melody and unison are playing the same melody, if the condition of the deviation pattern a is satisfied, the detune is further expanded by 5% to perform the user performance melody and unison. That is, with respect to the part specified by the Part variable, the melody of the user performance and the unison performance are performed with a slightly wide pitch difference.

  Further, in the case of the departure pattern b, it is set so as to sound after a 16th note from the melody of the user performance. Specifically, for example, a flag indicating that the part specified by the Part variable is delayed by a sixteenth note is set, and the buffer of the user's performance melody (SA10 in FIG. The melody history storage buffer) can be sounded with reference to information on notes played before the sixteenth note. Alternatively, a delay buffer for the delay timing (16th note in this case) may be prepared so that the user performance melody is sequentially stored in the FIFO format and the sound delayed by the 16th note is read out and generated. .

  In the case of the deviation pattern c, the velocity value is increased by 10%. In this case, the part specified by the Part variable is pronounced with a velocity value increased by 10% from the specified value. That is, the part specified by the Part variable is played with a little emphasis compared to when no deviation is made.

  In the case of the deviation pattern k, the range of the part specified by the Part variable is changed in octave units. In this case, regarding the number of octaves to be raised or lowered, and how many octaves to change, the number of octaves when changing the range with the deviation pattern k for each instrument or part is, for example, +1 octave or -2 octave. It can be stored in advance in a table. Alternatively, the pitch of the user-played melody is compared with the preset range of each part, and if the number of trebles is higher than the melody of the range of each part, the pitch is increased by one octave. If there are more bass sounds than melody sounds, it is possible to change the range such as lowering the octave.

  Actually, in this step SF4, a flag corresponding to each part / deviation is set, and if necessary, the settings relating to the sound generation for each MIDI channel assigned to the sound of each part are changed (for example, detuned). If a deviation that changes the value is specified, the detune value of the corresponding channel is changed, or if a deviation that changes the octave value is specified, the octave value is set). As for sound generation, it is assumed that a sound that deviates appropriately is generated by referring to these flags and the like during the sound generation processing in SA10 of FIG. Specifically, in SA10, if any of the deviation patterns a, b, c, k according to the drawing is ON (1) for a certain part, the flag set at step SF4 in the drawing. By referring to the above, it is possible to make a deviant pronunciation and to produce a different pronunciation from the case where no deviating sound is generated.

  Returning to step SF1, if it is determined that the departure condition is not satisfied (step SF1: No), the departure flag [Part, Pattern] corresponding to the current Part variable and Pattern variable is ON ( 1) is determined (step SF3). This is because, in order to realize processing such as, for example, letting a part that has started to play with a departure pattern once the departure condition has been satisfied, for example, to continue playing until the end of the measure, the departure is performed at step SF2. When the middle flag is set, the processing is transferred to the processing flow that is in the departure state.

  If the departure flag [Part, Pattern] is ON (1) (step SF3: Yes), the process proceeds to step SF5. Here, in the case of the departure pattern according to FIG. 21, when the departure condition is satisfied, a departure flag is already set in step SF2, and in step SF4, for example, a detune value is set. Therefore, in the processing after step SF5, determination of the condition for ending the deviation and processing for ending the deviation are performed.

  On the other hand, when the departure flag [Part, Pattern] is OFF (0) (step SF3: No), the departure process is terminated and the process returns to FIG.

  After performing various settings for departure in step SF4 or when the departure flag [Part, Pattern] is ON (1) in step SF3, the CPU 21 determines whether or not the current playback position is the end of a measure. Is determined (step SF5). Regarding “end of measure”, as described above, depending on the rhythm pattern and tempo currently being played, for example, whether it is between the end of a measure (between the next measure) and a predetermined period before Judgment is made by examining whether or not.

  If the current playback position is not the end of the measure (step SF5: No), the deviation continues during that measure, so the deviation process of FIG. 21 is terminated without doing anything.

  On the other hand, if the current reproduction position is the end of the measure, it is determined whether or not the user has pressed the melody (step SF6). If the melody is being depressed (step SF6: Yes), setting is made so as to continue the current deviation until the melody is depressed (until released) (step SF7). Actually, the flag is set using a flag or the like indicating that it should deviate until the end of the key press, the deviation is executed while the flag is set, and when the sound is released, the flag is set. It can be realized as clearing.

  Then, the CPU 21 determines whether or not the melody sound being pressed is released (step SF8). If the melody is released (step SF8: Yes), the process proceeds to step SF9 to deviate. Process for termination. On the other hand, if the key has not been released, the departure is not terminated, and the process of FIG. 21 is terminated and the process returns to the process of FIG. 20 (step SF8: No).

  If the current playback position is at the end of the measure (step SF5: Yes) and there is no melody key press (step SF6: No), or the sound whose deviation is to be held until the melody key press is completed. If there is a key release (step SF8: Yes), the CPU 21 cancels the deviation setting set according to the deviation pattern indicated by the Pattern variable in step SF9 (step SF9).

  Specifically, the setting performed in step SF4 may be canceled. For example, the setting relating to the sound generation for each MIDI channel assigned to the sound generation of each part is returned to the original state before the departure. It ’s fine. For example, in the case of the deviation pattern a, the detune of the corresponding channel is restored, and in the case of the deviation pattern c, the velocity value is restored to the original reference value (standard value).

  Further, the CPU 21 clears the value of the in-progress flag [Part, Pattern] set in step SF2 to OFF (0) (step SF10). Thereafter, the departure process of FIG. 21 is terminated, and the process returns to the flow of FIG.

  In this way, in the case of the deviation pattern a, the deviation pattern b, the deviation pattern c, and the deviation pattern k, these deviation patterns are executed by executing the processing from step SE3 to FIG. 21 in FIG.

  FIG. 22 shows the deviation pattern f “tremolo / battery performance”, deviation pattern g “pronunciation of melody and start sound”, deviation pattern h “trill insertion into continuous melody”, deviation pattern i “same beat repeated” in FIG. It is a flowchart which shows the Example of each deviation pattern. Each of these deviation patterns can be realized by performing the same processing in many steps, and will be described with reference to FIG. Also, in FIG. 22, steps that perform the same processing as in FIG. 21 are given the same step numbers, and basically the same processing as described in FIG. 21 is performed in these steps. The description is omitted because it is performed.

  In FIG. 22, step SG4 is executed instead of step SF4 of FIG. In the case of the deviation patterns a, b, c, and k realized by FIG. 21, when the deviation condition is satisfied, in step SF4, for example, a detune value, an octave value, or a delay from the melody is set. Deviations have been realized by setting or setting flags related to these.

  On the other hand, in the case of the departure patterns f, g, h, and i processed by this FIG. 22, in order to perform a departure performance when the departure condition is satisfied, in step SG4 the actual sound type and the like. A deviation pattern is generated. In the case of each of the departure patterns f, g, h, i realized by this FIG. 22, if the departure conditions such as tremolo, trill, and the same tone repeated hit are satisfied, the sound continues until the key is released. This is a type of deviation pattern that makes the deviation, and the deviation pattern is not just a simple parameter setting as in the case of the deviation patterns a, b, c, and k. For this reason, in step SG4 of FIG. 22, a departure pattern such as an actual sound type to be played during the departure is generated according to each departure pattern.

  Actually, in the departure pattern generation processing in step SG4, departure pattern generation processing corresponding to each departure pattern is performed. Examples of specific processing for generating the deviation pattern are shown in FIGS.

  FIG. 23 shows a deviation pattern that is called and executed from step SG4 when FIG. 22 is executed with the deviation pattern f “Tremolo / battery performance” or the deviation pattern g “Alternative pronunciation of melody and start sound”. It is an example of a production | generation process.

  In FIG. 23, the CPU 21 first reads out the start sound of the currently designated gins (step SH1). More specifically, the Jince designated by the Jince designation keyboard 101 or the preset Macamu start sound (first sound) is read from the McArm / Gins database in the ROM 22.

  Next, the CPU 21 reads tempo information in the current performance set by the tempo setting button 16 and determines whether or not the tempo is 60 BPM, that is, less than 60 beats per minute (step SH2). This is because the length of the tremolo note is changed according to the tempo of the current performance, such as a shorter note at the slow tempo and a longer note at the up tempo.

  If the tempo is 60 BPM or less (step SH2: Yes), the note length for creating the tremolo tone pattern is set to the 32nd note (step SH3). On the other hand, if the tempo is greater than 60 BPM (step SH2: No), the note length for creating the tremolo tone pattern is set to the sixteenth note (step SH4). The note length may be set to a different length for each departure pattern.

  Next, a tremolo pattern that alternately repeats the start sound of Jinse read out in step SH1 and the melody sound currently played by the user is generated and stored in a predetermined deviation pattern storage area of the RAM 23 (step SH5). ). At this time, the CPU 21 generates a tremolo pattern having the note length set in step SH3 or SH4. Specifically, for example, a tremolo pattern based on the tone length and pitch determined in the above steps is generated as MIDI data.

  Further, the CPU 21 sets a velocity for the tremolo pattern generated in step SH5 (step SH6). In the example shown in the figure, a tremolo pattern is generated with a constant velocity value (for example, a velocity value of 100 in the MIDI standard) in step SH5, and further, the constant velocity value is changed in step SH6 to change the strength of each sound. An example of adding a change is shown. That is, the first sound and the third sound are set so as to be pronounced with some emphasis at 20% and 10% of the original volume, respectively.

  In this case, in the case of the combination of the user performance melody on the odd-numbered sound and the start sound of Jinth on the even-numbered sound, the user-played melody sound is slightly emphasized, and a stable impression can be given while departing. On the other hand, in the case of the combination of the start sound of Jinth for the odd number sound and the user performance melody for the even number sound, the sound different from the user performance melody is slightly emphasized, and a deviating impression can be given more strongly.

  When the departure pattern generation (patterns f and g) in FIG. 23 is completed, the CPU 21 returns the process to FIG. 22 and advances the process to step SF6. The deviation patterns generated in FIG. 23 are sequentially read out and sounded during the sound source sound generation process in step SA10 in FIG. That is, in step SA10, if the deviation flag of the deviation pattern f or g is ON (1) for a certain part, the tremolo pattern generated in FIG. At this time, the reading speed of the departure pattern is sequentially generated in synchronization with the currently set tempo using a pointer variable indicating the reading position. In this case, the part does not perform unison performance with the same melody as the user performance melody, but a deviation pattern is pronounced instead. Further, in the case of the departure pattern processed in FIG. 22, the tremolo pattern generated in FIG. The tremolo pattern is repeatedly reproduced until the current key-pressed melody sound is released.

  FIG. 24 is an example of a departure pattern generation process that is called from step SG4 and executed when FIG. 22 is executed with the departure pattern h “inserting a toll into a continuous melody”.

  In FIG. 24, the CPU 21 first determines whether or not the sound of the user performance melody is the sound at both ends of the currently designated gins (step SI1). If the user performance melody is a sound at both ends of Jins (step SI1: Yes), a trill sound pattern that repeats from the adjacent sound in the Jins to the melody sound is generated (step SI2). Specifically, for example, a tremolo pattern is generated as MIDI data that repeats from the adjacent sound in the gin to the melody sound.

  On the other hand, if the user performance melody is not a sound at both ends of the jinse (step SI1: No), it is determined whether or not the user performance melody is an even-numbered sound in the jinth (step SI3). If the user performance melody is an even-numbered sound in Jins (step SI3: Yes), a trill sound pattern that repeats from the sound immediately above Jins to the melody sound is generated (step SI4). On the other hand, if the user-played melody is not an even-numbered sound in Jins, that is, if it is an odd-numbered sound in Jins (step SI3: No), a Toll tone shape that repeats from the sound immediately below Jins to the melody sound. A pattern is generated (step SI5).

  As described above, in the departure pattern generation process of the departure pattern h shown in FIG. 24, a trill sound is generated depending on which position in the gin the user performance melody is based on the user performance melody. A sound that forms a shape is determined, and a trill sound shape pattern is generated from the sound and the melody sound.

  When the departure pattern generation (pattern h) in FIG. 24 is completed, the CPU 21 returns the process to FIG. 22 and advances the process to step SF6. The departure patterns generated in FIG. 24 are sequentially read out and sounded in the same manner as the processing described above for the patterns f and g in the sound source sound generation processing in step SA10 in FIG.

  When FIG. 22 is executed with the departure pattern i “same beat repeated”, in the departure pattern generation process called and executed from step SG4, for example, with a predetermined note (sound length), the user performance melody The same tone repeated pattern that repeatedly pronounces the same sound is generated. In this case, for example, as described in steps SH2 to SH4 in FIG. 23, the length of each note to be hit repeatedly may be changed according to the tempo value.

As described above, in step SG4 in FIG. 22, a departure pattern (reproduction pattern for departure) corresponding to each departure pattern number as illustrated in FIGS. 23 and 24 is generated, and the sound source in step SA10 in FIG. In the sound generation process, the deviation is realized by referring to the reproduction patterns for deviation.

  Returning to FIG. 22, when the departure pattern generation process in step SG4 is completed, the process proceeds to step SF6, and the process proceeds in the same manner as the process in FIG.

  Here, in the case of FIG. 22, in the case of No in step SF6 or Yes in step SF8, that is, when the condition for ending the deviation is satisfied, the process of step SG9 is executed instead of step SF9 of FIG. The That is, in step SG9, the departure setting set according to the departure pattern indicated by the Pattern variable is canceled, but at that time, the departure pattern generated in step SG4 is cleared and used for loop reproduction in step SA10. Cleared pointer variables and so on. Further, in the same manner as described above, the value of the in-progress flag [Part, Pattern] is cleared to OFF (0) in step SF10.

  In this way, in the case of the deviation pattern f, the deviation pattern g, the deviation pattern h, and the deviation pattern i, the respective deviation patterns are executed by executing the processing from step SE3 to FIG. 22 in FIG.

  Further, FIG. 25 shows an example of each of the departure patterns d of “deviation pattern d” from above, “e. Arpeggio reaching the melody sound”, and departure pattern l “addition of stuttering of Jins” in FIG. It is a flowchart. Each of these departure patterns can be realized by performing the same processing in many steps, and will be described with reference to FIG. Also, in FIG. 25, steps that perform the same processing as in FIG. 21 are given the same step numbers. In these steps, basically the same processing as described in FIG. 21 is performed. Since it does, description is abbreviate | omitted.

  In FIG. 25, step SJ4 is executed instead of step SF4 of FIG. In the case of the deviation patterns a, b, c, and k realized by FIG. 21, when the deviation condition is satisfied, in step SF4, for example, a detune value, an octave value, or a delay from the melody is set. Deviations have been realized by setting or setting flags related to these.

  On the other hand, in the case of the deviation patterns d, e, and l processed by this FIG. 25, in order to perform a deviated performance when the deviation condition is satisfied, in step SJ4 the deviation of the actual tone type or the like is performed. A pattern is generated. In the case of each of the departure patterns d, e, and l realized by FIG. 25, when departure conditions such as a prill triller, arpeggio, and stuttering are satisfied, the departure pattern generated in step SJ4 is first pronounced. Later, a departure is made in the form of returning to the user performance melody sound and unison performance. Therefore, in step SJ4 of FIG. 25, according to each departure pattern, a departure pattern such as an actual sound type to be added and played at the beginning of the departure is generated.

  Actually, in the departure pattern generation processing in step SJ4, departure pattern generation processing corresponding to each departure pattern is performed. FIG. 26 shows an example of the departure pattern generation process that is called and executed from step SJ4 when FIG. 25 is executed with the departure pattern 1 “adding the stuttering of Jins”.

  In FIG. 26, the CPU 21 first determines whether or not the sound of the user performance melody is the sound at both ends of the currently designated gins (step SK1). If the user playing melody is a sound at both ends of Jins (step SK1: Yes), the next sound in Jins is pronounced as a stuttering sound of an eighth note length, and then the melody sound is returned. A stuttering deviation pattern is generated (step SK2). More specifically, for example, a stuttering pattern is generated as MIDI data that shifts to a melody sound after the adjacent sound in the Jinse is generated for an eighth note.

  On the other hand, if the user performance melody is not a sound at both ends of the Jinse (step SK1: No), it is determined whether or not the user performance melody is an even-numbered sound in the gins (step SK3). If the user-played melody is an even-numbered sound in Jins (step SK3: Yes), the sound immediately above Jins is pronounced as a stuttering sound of an eighth note length, and then returned to the melody sound. Subsequently, a stuttering deviation pattern for generating a melody sound is generated (step SK4). On the other hand, if the user performance melody is not an even number sound in Jins, that is, if it is an odd number sound in Jins (step SK3: No), the sound immediately below Jins is the length of an eighth note. After sounding as a roaring sound, the process returns to the melody sound, and a stuttering deviation pattern for generating the melody sound is generated (step SK5).

  As described above, in the departure pattern generation process of departure pattern l shown in FIG. 26, the sound is generated depending on the position of the user performance melody in the gin based on the user performance melody. Sound is generated as a stuttering sound of a predetermined length, and then the melody sound is returned to and then a stuttering deviation pattern for generating the melody sound is generated. Note that the note length of the stuttering can be any length.

  When the departure pattern generation (pattern 1) in FIG. 26 is completed, the CPU 21 returns the process to FIG. 25 and proceeds to step SJ5. The deviation patterns generated in FIG. 26 are sequentially read out and sounded during the sound source sound generation process in step SA10 in FIG. If the departure pattern generated in FIG. 26 includes both a stuttering sound and a user performance melody sound (unison performance sound) that follows, the pattern may be played sequentially from the beginning. On the other hand, when the departure pattern generated in FIG. 26 is only the stuttering portion, in step SA10 in FIG. 16, after the departure pattern of only the stuttering portion is generated, the user performance melody sound is played in unison. Control may be performed to return to the basic operation mode.

  When FIG. 25 is executed with the departure pattern e “Arpeggio”, an arpeggio departure pattern is generated in the following manner in the departure pattern generation process called and executed from Step SJ4. First, the CPU 21 refers to the McArm / Gins database in the ROM 22 from the currently set Macamu or Jins, and counts the number of arpeggio sounds between the Macamu or Jins start sound and the current melody sound. Then, this arpeggio note length is divided by the number of tuplets in which the counted arpeggio number falls within an equal length within a predetermined arpeggio note length (for example, an eighth note). Then, an arpeggio pattern is generated that produces the sounds of McCarm or Jinsu in order. In this case, it is assumed that an arpeggio deviation pattern that reaches the user-played melody sound is generated in either an ascending tone shape or a descending tone shape from the start tone on McCamm or Jins.

  In addition, when FIG. 25 is executed with the departure pattern d “plural trailer”, an arpeggio departure pattern is generated in the following manner in the departure pattern generation process called and executed from step SJ4. First, the CPU 21 refers to the McArm / Gins database in the ROM 22 from the currently set Macamu or Jinse, and determines the upper sound adjacent to the current melody among the Macamu or Jinse sounds. To do. Then, a pattern is generated that repeats the above sound → melody sound a predetermined number of times with a predetermined sound length (for example, a 32nd note in the example of FIG. 15). The number of repetitions is, for example, 2 in the example of FIG. 15, but this number may be arbitrarily determined. The last repeated melody sound is maintained and held until the user's melody pressing is completed.

  Returning to FIG. 25, if the process of step SJ4 ends, or if Yes, that is, the deviation flag [Part, Pattern] is ON (1) in step SF3, the CPU 21 advances the process to step SJ5, and deviates. It is determined whether or not the pattern reproduction has been completed (step SJ5). As described above, the stuttering deviation pattern generated by the processing of FIG. 26, or the deviation pattern of the prill triller or arpeggio, is played sequentially from the beginning, and as a result, the sound (reproduction) is completed up to the end of those deviation patterns. If yes (step SJ5: Yes), the CPU 21 advances the process to step SJ9.

  On the other hand, when the reproduction of the departure pattern has not been finished yet (step SJ5: No), it is determined whether or not the user is pressing the melody sound (step SJ6). If the user continues to press the melody sound (step SJ6: Yes), the process of FIG. 25 ends. On the other hand, when reproduction of the deviation pattern has not yet finished but the user has finished pressing the key of the melody sound (key release) (step SJ5: No, then step SJ6: No), the CPU 21 proceeds to step SJ9. To proceed.

  In step SJ9, the CPU 21 performs departure cancellation processing according to the departure pattern. Specifically, the deviation pattern generated in step SJ4 is cleared, and pointer variables used for reproducing the deviation pattern are cleared in step SA10. Further, in the same manner as described above, the value of the in-progress flag [Part, Pattern] is cleared to OFF (0) in step SF10.

  In this way, in the case of the departure pattern d, the departure pattern e, and the departure pattern l, each of these departure patterns is executed by executing the processing from step SE3 to FIG. 25 in FIG.

  Furthermore, when the departure pattern is j (side dish insertion), the processing of FIG. 27 can be called from step SE3 of FIG. The “side dish” here refers to “a side dish” that is generally used in music, and refers to counter-melody, fill-in, etc., which is a match.

  When the variable Pattern is the departure pattern j in step SE3 in FIG. 20, the CPU 21 moves the process to step SL1 in FIG. 27 and determines whether or not the departure condition is satisfied (step SL1). Specifically, as described above, any one of the accompaniment format set / deviation method designation tables in FIGS. 8 to 10, for example, with reference to FIG. With reference to the rhythm genre and the part corresponding to the part (for example, column 805 in FIG. 8), it is determined whether or not the deviating condition is satisfied.

  When the departure condition is satisfied (step SL1: Yes), the CPU 21 sets the departure flag [Part, Pattern] to ON (1) (step SL2), and proceeds to step SL4. On the other hand, if the departure condition is not satisfied (step SL1: No), it is determined whether the departure flag [Part, Pattern] is already set to ON (1) in step SL2 (step SL3). When the middle flag [Part, Pattern] is ON (1) (step SL3: Yes), the process proceeds to step SL4. If the departure flag [Part, Pattern] is not ON (1), the melody departure (pattern j) processing of FIG. 27 is terminated and the processing returns to FIG. 20 (step SL3: No).

  When the process proceeds to step SL4, the CPU 21 refers to the currently set tempo information and determines whether or not the current tempo is 60 or less (step SL4). This is because the normal tempo fill-in pattern and the slow tempo fill-in pattern are used separately according to the tempo. A pattern may be provided.

  If the current tempo is 60 or less (step SL4: Yes), if the current beat position is in the middle of three beats (step SL5: Yes), a fill-in pattern for three beats for slow tempo is read (step SL). SL6). If the current beat position is not within 3 beats (step SL5: No), a fill-in pattern for 4 beats for slow tempo is read (step SL7).

  Here, the rhythm is assumed to be a rhythm of four beats, and the trigger number of the melody departure trigger is known as the departure condition from the data in the 805 column of the accompaniment format set / deviation method designation table of FIG. If the current beat position is not in 3 beats by including the “second half of measure” of 5 (Trigger [5]), it is assumed that the current beat position is in 4 beats.

  On the other hand, if the current tempo is not less than 60 (step SL4: No), if the current beat position is in the middle of 3 beats (step SL8: Yes), the fill-in pattern for 3 beats for the normal tempo is read. (Step SL9). If the current beat position is not within 3 beats (step SL8: No), a fill-in pattern for 4 beats for normal tempo is read (step SL10).

  The fill-in pattern is acquired by reading a fill-in pattern stored in a predetermined area (fill-in pattern storage area) of the ROM 22 as a MIDI pattern having the characteristics exemplified in the fill-in table 2800 of FIG.

  That is, in step SL6, any one of the fill-in patterns in the column 2820 in FIG. 28, in step SL7 any one of the fill-in patterns in the column 2830 in FIG. 28, and in step SL9, any one of the fill-in patterns in the column 2840 in FIG. In step SL10, one of the fill-in patterns in the column 2850 in FIG. 28 is read out. It should be noted that which of the fill-in patterns illustrated in FIGS. 28A to 28F is selected and sounded is checked by checking the information in the column of the assumed instrument 2810 in FIG. 28 according to, for example, the part or instrument in which the deviation condition is satisfied. In addition to the above-described determination, other detailed conditions may be set in advance, and one of the patterns may be selected according to various conditions.

  As described above, when an appropriate fill-in pattern is selected and read out by the processing from step SL4 to step SL10, the CPU 21 proceeds to step SL11 and determines whether or not a new melody key has been pressed by the user (step SL11). . As shown in the data in the 805 column of the accompaniment format set / deviation method designation table in FIG. 8, the melody deviation trigger trigger number 6 (Trigger [6]) is “melody off”, which is a deviation condition. This is to terminate the departure when there is a new melody key pressed by.

  If there is a new melody key press by the user (step SL11: Yes), the sound of the deviation sound is interrupted, the sound that is sounded as the start sound of Jinsu is changed, and the sound is extended to the end of the measure. (Step SL12). Specifically, for example, a MIDI start sound is generated at a portion (unreproduced portion) ahead of the currently reproduced position of the fill-in pattern read out at steps SL6, SL7, SL9, and SL10. By overwriting the data or the like, the departure pattern can be interrupted and the start sound of Jins can be generated as the sound reproduced at SA10 in FIG.

  Further, the CPU 21 determines whether or not the end of the measure has been reached (step SL13). If the end of the measure has been reached (step SL13: Yes), the CPU 21 performs deviation setting cancellation processing corresponding to the deviation pattern j (SL14). Specifically, for example, the fill-in pattern read out and stored in the RAM 23 is cleared, and pointer variables used for reproducing the deviation pattern are cleared in step SA10. Further, the value of the deviation flag [Part, Pattern] is cleared to OFF (0) (step SL15).

  In this way, in the case of the departure pattern j (side dish insertion), the departure pattern is executed by executing the processing from step SE3 to FIG. 27 in FIG.

  As described above, according to the flowchart of the melody departure process of FIG. 20, the execution of the departure pattern (step SE3) is performed for all the patterns for all the patterns while the part variable Part and the departure pattern variable Pattern are sequentially changed. Each of the processes (FIGS. 21 to 27, etc.) corresponding to is called and executed, and the sound to be generated by each part such as the accompaniment part for the user performance melody in the heterophony music is determined. When the user's performance melody sound is generated at step SA10 in FIG. 16 and the other accompaniment instruments are basically playing the same melody as the user performance melody, and the deviation is specified in FIG. The sound of the deviating sound is generated based on the user performance melody. Thereby, the electronic musical instrument which performs the heterophonic accompaniment according to a user's performance melody is implement | achieved.

  As described above, in the present embodiment, for each accompaniment part, in accordance with the user performance melody, the melody such as the octave difference based on the user performance melody and the unison is normally pronounced while FIGS. When a predetermined deviation condition set in the accompaniment format set / deviation method designation table is satisfied, various deviation patterns deviating from the normal unison accompaniment are generated based on the user performance melody. As a result, when the user plays a melody, heterophony music with a heterophonic accompaniment can be easily played. Accordingly, the user can easily perform the heterophony music by performing the accompaniment of the heterophony music with the melody accompaniment different from the so-called Western music.

  In the above embodiment, the example in which the functions of the departure condition determination unit, the departure processing unit, and the sound generation instruction unit are realized by the CPU 21 provided in the electronic musical instrument 10 has been described. It may be realized by software in a connected personal computer. In this case, if necessary, for example, the part for storing the accompaniment format set / deviation method specification table may be a storage device in the personal computer, an external server connected via a network, or the like. Further, the sound system 24 and the timbre waveform data storage unit in the ROM 22 may be configured to use an external hardware sound source or a software sound source module.

  In short, several embodiments of the present invention have been described, but these embodiments are presented as examples and are not intended to limit the scope of the invention. These novel embodiments can be implemented in various other forms, and various omissions, replacements, and changes can be made without departing from the scope of the invention. These embodiments and modifications thereof are included in the scope and gist of the invention, and are included in the invention described in the claims and the equivalents thereof.

  In addition, the methods described in the above-described embodiments are, for example, magnetic disks (floppy (registered trademark) disks, hard disks, etc.), optical disks (CD-ROMs, DVDs, etc.), semiconductor memories as programs that can be executed by a computer. It is also possible to write on a recording medium such as the above and apply it to various apparatuses, or transmit it via a communication medium and apply it to various apparatuses. A computer that implements this apparatus reads the program recorded on the recording medium, and executes the above-described processing by controlling the operation by this program.

In the present specification, the step of describing the program recorded on the recording medium is not limited to the processing performed in time series along the order, but is not necessarily performed in time series, either in parallel or individually. The process to be executed is also included.
Further, in the present specification, the term “system” means an overall device configured by a plurality of devices, a plurality of means, and the like.

Regarding the above embodiment, the invention described in the scope of the original claims of the present application will be additionally described below.
[Appendix 1]
Accompaniment information generating means for generating accompaniment information from input performance information based on a predetermined condition;
Determination means for determining whether or not the input performance information is in a predetermined state;
Control means for controlling the accompaniment information generating means so as to generate accompaniment information based on a condition deviating from the predetermined condition when determined to be in the predetermined state;
An accompaniment device comprising:
[Appendix 2]
The accompaniment information generating means generates accompaniment information corresponding to each of a plurality of parts based on different predetermined conditions,
The determination means determines whether or not the state of the input performance information is in a predetermined state corresponding to each of the plurality of parts,
When it is determined that the state of the input performance information corresponds to one of the predetermined states corresponding to each of the plurality of parts, the control means is based on a condition deviating from the corresponding predetermined condition. The accompaniment apparatus according to appendix 1, which is controlled to generate accompaniment information.
[Appendix 3]
The accompaniment apparatus further includes rhythm genre specifying means for specifying a rhythm genre, and rhythm information generating means for generating rhythm information based on the rhythm genre specified by the rhythm genre specifying means,
The determination means determines whether the state of the input performance information is in a predetermined state corresponding to the designated rhythm genre,
When it is determined that the control unit is in a predetermined state corresponding to the rhythm genre, the control unit generates accompaniment information based on a condition deviating from the predetermined condition corresponding to the designated rhythm genre. The accompaniment apparatus according to appendix 1 or 2, which is controlled as follows.
[Appendix 4]
4. The accompaniment apparatus according to any one of appendices 1 to 3, further comprising melody information generation means for generating melody information based on performance information that is input.
[Appendix 5]
The control means controls the accompaniment information generation means so as to generate accompaniment information having a predetermined effect as accompaniment information based on a condition deviating from the predetermined condition. The accompaniment device described.
[Appendix 6]
The control means controls the accompaniment information generating means so as to generate accompaniment information by combining the input performance information and predetermined sound information as accompaniment information based on a condition deviating from the predetermined condition. The accompaniment device according to any one of appendices 1 to 5.
[Appendix 7]
The accompaniment apparatus further includes a temperament specifying means for specifying a temperament,
The accompaniment apparatus according to appendix 6, wherein the predetermined sound information is any sound information included in the temperament specified by the temperament specifying means.
[Appendix 8]
The accompaniment apparatus according to any one of appendices 1 to 7, wherein the accompaniment information generation unit generates unison accompaniment information of the input performance information as the generated accompaniment information.
[Appendix 9]
The control means performs accompaniment information based on a condition deviating from the corresponding predetermined condition from the time when the input performance information is determined to be in a predetermined state to the time when the input of the performance information is completed. The accompaniment device according to any one of appendices 1 to 8, wherein the accompaniment device is controlled to generate
[Appendix 10]
The control means generates accompaniment information based on a condition deviating from the corresponding predetermined condition from a time point when the input performance information is determined to be in a predetermined state to a predetermined timing. The accompaniment device according to any one of appendices 1 to 8, wherein the accompaniment device is controlled.
[Appendix 11]
The determination means is configured to be able to determine each of a plurality of states of the inputted performance information, and determines whether or not the predetermined state is a combination of the plurality of states. The accompaniment apparatus according to any one of 10.
[Appendix 12]
The accompaniment device according to any one of appendices 1 to 11;
Sound source means for generating a musical sound based on the accompaniment information generated by the accompaniment device;
Electronic musical instrument with
[Appendix 13]
An accompaniment generating method used for an accompaniment device, wherein the accompaniment device is
Accompaniment information is generated based on predetermined conditions from input performance information,
Determining whether the input performance information is in a predetermined state;
An accompaniment generation method for controlling to generate accompaniment information based on a condition deviating from the predetermined condition when it is determined that the predetermined state is established.
[Appendix 14]
In a computer used as an accompaniment device,
Generating accompaniment information from input performance information based on a predetermined condition;
Determining whether the inputted performance information is in a predetermined state;
Controlling to generate accompaniment information based on a condition deviating from the predetermined condition when it is determined that the predetermined condition is present; and
A program that executes

10 .... Electronic musical instrument 11 .... Tone designation button 12 .... Automatic accompaniment start / end instruction button 13 .... Rhythm genre selection button 14 .... Rhythm element designation button 15 .... Display unit 16 ... Tempo setting button 100 ... Keyboard 101 ... Jin specified keyboard 102 ... Melody playing keyboard 21 ... CPU
22 ... ROM
23 ... RAM
24 ... Sound system 25 ... Switch group 26 ... Sound source unit 27 ... Audio circuit 28 ... Speaker 800 ... Accompaniment format set and melody deviation method specification table (1) Normal pattern 900 ... Accompaniment format set and melody deviation method designation table (2) Solo pattern 1000 ... Accompaniment format set and melody deviation method designation table (3) Fill-in patterns 810, 910, 1010 ... Rhythm genre name 820, 920, 1020 ... part name 830, 930, 1030 ... tone 840, 940, 1040 ... range / drum pattern 850, 950, 1050 ... detune with melody
860, 960, 1060 ... Drone 870, 970, 1070 ... Melody deviation method 2800-Fill-in table 2810-Assumed instrument 2820-Fill-in pattern (tempo 60 or less, 2-beat fill-in)
2830 .. Fill-in pattern (tempo 60 or less, 1-beat fill-in)
2840 ・ ・ Fill-in pattern (Tempo 61 or more, 2-beat fill-in)
2850 ・ ・ Fill-in pattern (tempo 61 or more, 1-beat fill-in)

Claims (14)

Accompaniment information generating means for generating accompaniment information from input performance information based on a predetermined condition;
Determination means for determining whether or not the input performance information is in a predetermined state;
Control means for controlling the accompaniment information generating means so as to generate accompaniment information based on a condition deviating from the predetermined condition when determined to be in the predetermined state;
An accompaniment device comprising: The accompaniment information generating means generates accompaniment information corresponding to each of a plurality of parts based on different predetermined conditions,
The determination means determines whether or not the state of the input performance information is in a predetermined state corresponding to each of the plurality of parts,
When it is determined that the state of the input performance information corresponds to one of the predetermined states corresponding to each of the plurality of parts, the control means is based on a condition deviating from the corresponding predetermined condition. The accompaniment apparatus according to claim 1, wherein the accompaniment apparatus is controlled to generate accompaniment information. The accompaniment apparatus further includes rhythm genre specifying means for specifying a rhythm genre, and rhythm information generating means for generating rhythm information based on the rhythm genre specified by the rhythm genre specifying means,
The determination means determines whether the state of the input performance information is in a predetermined state corresponding to the designated rhythm genre,
When it is determined that the control unit is in a predetermined state corresponding to the rhythm genre, the control unit generates accompaniment information based on a condition deviating from the predetermined condition corresponding to the designated rhythm genre. The accompaniment apparatus according to claim 1 or 2, which is controlled as follows.   The accompaniment apparatus according to any one of claims 1 to 3, further comprising melody information generation means for generating melody information based on input performance information.   The said control means controls the said accompaniment information production | generation means so that the accompaniment information which provided the predetermined | prescribed effect as accompaniment information based on the conditions which deviated from the said predetermined conditions is produced | generated. The accompaniment device described in 1.   The control means controls the accompaniment information generating means so as to generate accompaniment information by combining the input performance information and predetermined sound information as accompaniment information based on a condition deviating from the predetermined condition. The accompaniment apparatus according to any one of claims 1 to 5. The accompaniment apparatus further includes a temperament specifying means for specifying a temperament,
The accompaniment apparatus according to claim 6, wherein the predetermined sound information is any sound information included in the temperament specified by the temperament specifying means.   The accompaniment apparatus according to any one of claims 1 to 7, wherein the accompaniment information generating means generates unison accompaniment information of the input performance information as the generated accompaniment information.   The control means performs accompaniment information based on a condition deviating from the corresponding predetermined condition from the time when the input performance information is determined to be in a predetermined state to the time when the input of the performance information is completed. The accompaniment apparatus according to claim 1, wherein the accompaniment apparatus is controlled to generate   The control means generates accompaniment information based on a condition deviating from the corresponding predetermined condition from a time point when the input performance information is determined to be in a predetermined state to a predetermined timing. The accompaniment apparatus according to any one of claims 1 to 8, wherein the accompaniment apparatus is controlled.   The determination unit is configured to be able to determine each of a plurality of states of the input performance information, and determines whether the predetermined state is a combination of the plurality of states. The accompaniment apparatus in any one of thru | or 10. The accompaniment apparatus according to any one of claims 1 to 11,
Sound source means for generating a musical sound based on the accompaniment information generated by the accompaniment device;
Electronic musical instrument with An accompaniment generating method used for an accompaniment device, wherein the accompaniment device is
Accompaniment information is generated based on predetermined conditions from input performance information,
Determining whether the input performance information is in a predetermined state;
An accompaniment generation method for controlling to generate accompaniment information based on a condition deviating from the predetermined condition when it is determined that the predetermined state is established. In a computer used as an accompaniment device,
Generating accompaniment information from input performance information based on a predetermined condition;
Determining whether the inputted performance information is in a predetermined state;
Controlling to generate accompaniment information based on a condition deviating from the predetermined condition when it is determined that the predetermined condition is present; and
A program that executes